10. Textile Scaffold

goals of the week

• Document the concept, sketches, references also to artistic and scientific publications.
• Produce 2 techniques of textile scaffold.
• Document the process including the step-by-step instructions on software, machine, mold making, vaccum forming and textile composites.
• Upload your design and fabrication files, including the 3D model and CAM file when possible.
• Document at least 2 processes from design to prototyping, fabrication, materials used, document your achievements and unexpected outcomes.
• Make a stop motion of your crystal growth or use 3D modeling software to simulate your design (extra credit).

research

1. YUH OKANO, EPIDERMS (OCEAN), 1994, polyester, shibori dyed and heat set. I love how this piece combines a spiky appearance with a soft material, and the dye enhances its three-dimensionality, adding depth and form.
2. TRINE NIELSEN, ROYAL DANISH ACADEMY MA GRADUATE SHOW, pleating process and result. This designer explores various paper-folding techniques to make innovative pleating approaches.
3. MICHAEL DEAN, UNFUCKINGTITLED, 2024, although this particular piece seems to be made of ceramic rather than textile, I really like the concept of using a letter-shaped mold.
4. SIGALIT LANDAU, salt crystallization.
5. ALEXANDER MCQUEEN FALL 2007 RTW FASHION SHOW, body leather molding,
6. TOKUJIN YOSHIOKA, SPIDER'S THREAD, mineral crystals growth. Tokujin created the Spider's Thread sculpture of a chair by suspending just seven filaments within a frame that was sat in a pool of mineral solution.

crystallization

Crystallization is the process, either natural or artificial, by which a solid crystal structure forms from a solution. This occurs when the dissolved substance, or solute, transitions out of the liquid phase into a solid, often forming a precipitate with an organized, repeating molecular structure.

To begin this process, I created a design file in Rhino, which I later used for laser cutting the material I wanted to crystallize. For the design on the right, I aimed to explore how the crystals would grow around the circle holes, while for the design on the left, I was curious to observe how the crystals would follow the star shapes. This technique tends to work best on textured materials with fibers that the crystals can adhere to effectively. For this reason, I selected a light blue felt available in the Lab.

The laser cutting parameters were the same ones I previously used for cutting felt during the Circular Open Source Fashion week. You can find those parameters referenced here.

You can download the file here¹.

The next step in the process is very important: correctly positioning the material inside the jar. It’s essential to ensure the designs are suspended without touching the walls or the bottom of the jar. However, positioning them close to the bottom is better, as we observed that crystals tend to form more densely near the jar’s base.

To achieve this, we used thread, a wooden stick, and some tape to suspend the designs securely. If you’re working with multiple designs in a single jar, make sure they don’t touch eachother. If they touch, the crystals will form between them, fusing the designs together.

For tall jars like the ones we used, it's important to position the designs as low as possible in the jar. This minimizes the amount of solution needed, reducing waste. In my case, I had to suspend my designs horizontally because their height was too large and we would need a lot more solution to submerge them completely. This caused some distortion in their original shape, and as the crystals formed, they solidified those changes, altering the final outcome.

I would rather have chosen a darker color for the felt. Since the crystals are white, the felt isn't easily visible. However, this effect could be ideal if you’re aiming for a more subtle aesthetic. Alongside the felt designs, we experimented with a few additional materials: a twisted flower made from pipe cleaners, a piece of wool, and a fishnet textile.

For the solution we calculated that 1.6 liters of solution would be needed to fully submerge our designs for crystal growth. Using a ratio of 70g of Alum per 100ml of water, we determined the required amount of Alum and measured it precisely with a scale. Here's the step-by-step process:

1. Heat 1.6 liters of water until it reaches a high simmer.
2. Gradually add the Alum to the hot water, stirring constantly to help it dissolve.
3. Continue adding Alum until the solution becomes fully saturated, meaning no more Alum can dissolve. This point is reached when undissolved Alum begins to settle at the bottom. Although our calculation indicated we needed 1.12 kg of Alum, we found that 1 kg was sufficient.
4. Keep stirring until the solution turns clear.
5. If you’d like your crystals to have color, you can add dye or food coloring at this stage.

Carefully pour the prepared solution into the jar, ensuring you do this slowly to avoid disturbing the setup. Submerge your designs to the desired level, where you want the crystallization to occur. Once submerged, leave the designs undisturbed and let the magic begin. Place the jars in a safe, stable location away from vibrations or drafts to allow the crystals to form properly.

We left our designs in the solution for approximately 4 hours, but the duration can vary depending on the size and density of crystals you wish to achieve. Longer submersion will generally result in larger crystals, while shorter times will produce finer ones.

(left to right) Wool, Fishnet fabric, Pipecleaners (pink coloured crystals), Braided Pipe cleaners (by Issy), Felt Stars (laser cutted), Felt Snake (laser cutted).

heated shibori

Heated Shibori is a traditional Japanese textile technique where fabric is tightly wrapped, folded, twisted, or pleated, often around objects like sticks, stones, or poles, and then boiled in water or steamed to set the folds and shapes permanently. The heat and pressure alter the fabric's structure, creating textures or 3D patterns that remain even after the fabric cools and is unwrapped.

To begin this technique, we started by bringing a large pot of water to a boil. While waiting for the water to heat up, we gathered various fasteners from the Fab Lab to serve as forms for wrapping the fabric. Initially, we experimented with elastic bands to secure the fabric, but many of them loosened during the boiling process. Switching to thread was a lot better.

The choice of fabric is another crucial factor in this technique. We repurposed some materials from the Computational Couture week, like fishnet fabrics that were elastic and thin. I wasn’t entirely satisfied with the fabric choice, despite using a variety of fasteners, the impressions all produced a similar rounded shape.

We allowed the wrapped fabrics to boil for 20 minutes. Once the boiling process was complete, we carefully transferred them to a separate pot, letting them cool down fully before unwrapping.

CNC milling

We are very fortunate to have access to a CNC milling machine in our lab, and Henk and Asli made sure to emphasize the importance of safety through some not so humorous stories about incidents that have occurred with this machines.

We used this machine to create durable molds for casting. While the foam material we used is not the most environmentally sustainable, our goal is to produce molds that can be recast and reused multiple times and that won't degrade easily, making the overall process more sustainable.

Additionally, we repurposed molds previously created by past participants in our lab, some of which have been in use for years and remain in excellent condition. These molds effectively withstand the challenges of casting bio-materials and a heat gun to shape materials to the mold, a process that would not have been feasible with options like soap, plaster, or vacuum-formed molds. This approach emphasizes durability, efficiency, and reusability!

To understand how precise and potentially dangerous this machine can be, we made sure to document every safety procedure and step in detail. With Henk guidance, we operated the machine ourselves under supervision to ensure we didn’t overlook any details.

Image from Aslı Aydın Aksan documention.

In the image above, I’ve shared a photo of the CNC milling machine available in our lab.

A CNC (Computer Numerical Control) milling machine is a form of subtractive manufacturing used for cutting, shaping, and engraving materials such as wood, metal, and plastic. It operates in millimeters, by following digital instructions from computer programs ShopBot and Vcarve, which dictates the movement of the machine's cutting tools across three axes (X, Y, and Z).

Safety Guidelines:

• Never leave the CNC milling machine unattended while it is operating. Remain focused and ensure you are not rushed, stressed, or distracted when using the machine.

• Before starting, locate and understand the function of the emergency stop button and the program pause button (space bar).

• Avoid wearing loose clothing, jewelry, or accessories that could get caught in the machine. If you have long hair, tie it back securely in a bun to eliminate any risks.

• Ensure the CNC's three axes of movement (X, Y, and Z) are clear of obstructions. Double-check that the workspace is organized to prevent interference during operation.

• If others are present in the room, ensure they remain at a safe distance from the machine while it is running.

• Know the locations of the fire extinguisher and fire exits in case of emergencies. Sparks can occur if the milling bit comes into contact with screws, nails, or other metal components in the material. If you hear unusual noises or see sparks during operation, a fire can start, so immediately stop the machine, turn off the extractor, and empty the dust bag.

• Always wear safety goggles to protect your eyes from debris and earmuffs to safeguard your hearing from the loud noise generated by the CNC machine.

• After completing your work, assess which leftover materials can be reused and properly dispose of those that cannot. Keep the workspace clean and ready for the next user.

• Always select the appropriate cutting tool and confirm the spindle speed, feed rate, and depth of cut are suitable for the material being machined.

• Ensure the material is clamped securely to the machine bed. Loose materials can shift or become dangerous projectiles during machining.

• In the lab, we have two designated waste bins: one for wood and one for foam. It’s essential to switch between them based on the material you’re working with to ensure proper disposal and maintain an organized workspace.

A flat end mill and a ball end mill are two common types of cutting tools used in CNC milling, and they have distinct differences in design and applications.

• Flat end mill: The cutting end of a flat end mill is flat, with sharp edges at the corners. Leaves a completely smooth surface on the material.

• Ball end mill: The cutting end of a ball end mill is rounded, resembling a semi-sphere. Ball end mills typically leave a stepped surface due to the rounded shape of the cutting edge, which can result in a texture that resembles small steps or ridges along the piece.

To change the milling bit, both the machine and the spindle must be turned off for safety. To help ensure this, the spindle key is connected to the spindle wrench!

Here’s the step-by-step process:

1. Loosen the butterfly nut at the back of the machine to release the skirt.
2. Using the spindle wrench and a spanner, turn them in opposite directions to loosen the collet nut and release the current bit.
3. Choose a collet that matches the diameter of the new milling bit. Insert the collet into the nut first.
4. Place the bit into the collet, ensuring it is positioned straight and doesn’t touch the collet’s inner walls.
5. Screw the nut back into the spindle by hand at first, then use the spindle wrench and spanner to tighten it securely.
6. Reattach the skirt by tightening the butterfly nut.
7. Always double-check that everything is securely fastened before resuming operation.

software interfaces

VCARVE PRO is a design and toolpath creation software used to prepare files for CNC milling. You can create 2D and 3D designs, import existing files, and generate precise toolpaths for cutting, engraving, and carving. VCarve Pro optimizes the cutting process by defining the depth, speed, and direction of cuts based on the material and tool being used. After creating the design and toolpaths, the file is exported in a format compatible with CNC machines, such as G-code.

Job Setup Parameters

• Material Thickness (Z): Defines the thickness of the material you're working with.

• XY Datum Position: Sets the origin point for your job, which is where the CNC will start machining. This can be set to any corner or the center of your material.

Material Setup Parameters

• Model Position in Material: Determines how your 3D model is positioned vertically within the material. You can choose to align it at the top, bottom, or center of the material thickness.

• Rapid Z Gaps Above Material: Sets the safe height for the tool to move above the material during rapid (non-cutting) movements to avoid collisions.

Toolpath Operations defines the cutting movements of a CNC machine, allowing you to create profiles, pockets, holes, textures, and 3D shapes by controlling how and where the tool interacts with the material.

Toolpath List displays all the toolpaths you've created for a project, allowing you to manage, organize, and review each cutting operation. It enables you to adjust, calculate, or delete toolpaths as needed before generating the final G-code for the CNC machine.

Toolpath Parameters

• Cut Depths: Defines how deep the tool will cut into the material in a given operation.

• Pass Depth: Specifies the maximum depth per pass for the tool, ensuring it doesn’t cut too deep and overload the tool.

• Step Over: Controls the horizontal spacing between tool passes to ensure complete coverage of the material.

• Spindle Speed: Speed of the spindle in RPM (revolutions per minute).

• Feed Rate: Horizontal cutting speed in mm/min or IPM.

• Plunge Rate: Vertical cutting speed in mm/min or IPM.

• Machining Limit Boundary: Defines the area where the toolpath will operate, ensuring the tool does not cut outside the designated workpiece area. You can choose between model boundary, material boundary or select a vector boundary.

• Allowance: The amount of material left for the finishing toolpath. It helps avoid over-cutting when removing material.

• Roughing Strategy: Determines the cutting approach of the tool.

• Offset: Tool moves in parallel passes.

• Raster: Tool moves back and forth.

• Climb Milling: Tool moves in the same direction as the feed.

• Conventional Milling: Tool moves against the feed.

Preview Toolpath allows you to simulate and visualize the toolpath before actually running it on your CNC machine. This step is crucial for ensuring that the toolpaths are correctly configured and that they will work as expected.

SHOPBOT is a CNC machine control software used specifically with ShopBot Tools. It communicates directly with the CNC milling machine, translating the toolpaths created in VCarve Pro into machine movements. ShopBot manages real-time control of the CNC machine, allowing operators to monitor and adjust the machine's movements, zero the axes, and execute the file to perform the desired cuts.

Image Credit

Machine Control Tools

• Arrow Keys: Use the arrow keys to move the machine manually along the X, Y, and Z axes.

• Jog Controls: Fine-tune movements with buttons like "Page Up" and "Page Down" to adjust the machine in smaller increments.

• Home Position: Move the machine to the home position (absolute 0,0,0), which is essential for establishing your machine's reference point.

Zeroing Tools

• Zero XY: Set the machine's zero position on the material (X and Y axes).

• Zero Z: Zero the Z axis to the surface of the material or the sacrificial layer. This is crucial for accurate depth control.

Toolpath Control

• Start Toolpath: Begin machining according to the loaded toolpath.

• Pause/Stop Toolpath: Pause or stop the machine while it’s cutting, often used for adjustments or troubleshooting.

• Restart Toolpath: Resume the toolpath from the last position if paused.

machine step by step

FILE

1. Design your file and adjust settings for your material and desired cut on VCarve Pro program. Ensure all paths and tool settings are correctly configured for the type of milling you are doing.

2. Save the file to your desktop. Export the file from VCarve Pro in the appropriate format for the CNC machine (.pdf; .stl; .dxf) to ShopBot software.

MATERIAL BED

3. Ensure the surface of the bed is clean and free of debris. Check that there are no loose screws or any other obstacles.

4. Use screws or double side tap, depending on the material, to secure it to the sacrificial layer, making sure they are deep enough to hold it in place without protruding above the surface.

5. Ensure the CNC milling machine is on and open the ShopBot control software.

MACHINE SETUP

6. Press the XY home button to home the machine (X and Y axes). The machine should move to the 0,0 point, which is the starting reference point (usually the bottom left corner or the machine’s designated origin).

7. Use the keyboard (press the K key for keyboard control) to move the drill head manually along the X and Y axes. Use the arrow keys to move the head up/down (Y-axis) and left/right (X-axis). Check the machine's movement to ensure it aligns with your desired coordinates.

8. Move the Z-axis closer to the material by using the Page Up and Page Down keys. Page Up raises the Z-axis (moves the drill bit away from the material) and Page Down lowers the Z-axis (moves the drill bit closer to the material).

9. Place the material plate on the sacrificial layer and ensure the circuit test is working (light should appear on the screen when the plate touches the drill bit).

10. Use the keyboard to move the drill head manually along the X and Y axes to calibrate the job origin of your project and press the Zero Z axes (X & Y) button.

FILE LOADING & START MACHINE

11. Navigate to File > Load Part File in the ShopBot software. Select the saved file you created earlier and ensure it's loaded into the machine’s workspace.

12. Press the green button to turn the extractor fan on.

13. Turn on the spindle by inserting the key and twisting it. Verify the spindle settings (speed, tool, etc.) in the control software to ensure they match your design and material specifications.

14. Press Start to begin the operation. Keep your hand near the pause button (space bar) in case you need to stop the machine quickly if something goes wrong. Always remain present and attentive during the milling process, monitoring the machine’s behavior and ensuring that the cuts are proceeding as expected.

WHILE & AFTER OPERATING

15. Ensure there are no irregularities in the operation. Listen for unusual sounds or vibrations. If something appears off (such as the material shifting or a tool becoming disengaged), be ready to stop the machine immediately.

16. Once the job is finished, turn off the spindle, the machine and extractor fan.

17. Safely remove the material from the bed and clean the Machine. Remove any debris, dust, or excess material from the machine to ensure it is ready for the next use.

2D milling

We began our CNC milling process with 2D milling by cutting a simple square with rounded corners from a 12mm thick plywood sheet.

In VCarve Pro, we started by setting up the job with the material's dimensions, and we measured carefully the thickness using calipers, since the CNC machine can mill with a precision of up to 0.001mm. We checked for any open or duplicate shapes by going to Edit > Select All Open/Duplicate Vectors.

The original point was set at the bottom right corner, and we configured the resolution and material appearance for the simulation. After that, we created our first Drilling Toolpath to add holes for securing the material to the bed. We created 5mm diameter circles and defined the Cut Depth as 2mm and the Tool as a 5mm end mill. After calculating and saving the toolpath, we previewed the result to check accuracy.

You can check the others parameters below, including the 3 toolpahts we created, Drilling, 2D Profile and Tabs.

Drilling Toolpath2D Profile ToolpathToolpath Tabs

A Drilling Toolpath is used when you need to drill holes into your material, typically for securing the material or creating specific features like cavities or holes. It defines the path that the tool will follow to make the holes, including parameters like depth and the type of tool used (ex. drill bit). The drilling toolpath does not follow a profile but focuses on creating vertical holes or pockets in the material.

- Cutting Depths:

Start Depth: 0.0 mm     Cut Depth: 12mm

Retract above the cutting start depth

- Tool: Fab Academy End Mill (5 mm)

- Tool Info:

Pass Depth: 7.0 mm      Stepover: 4.5 mm / 90%

Spindle Speed: 18000 r.p.m      Feed Rate: 90.0 mm/sec      Plunge Rate: 20.0 mm/sec

A 2D Profile Toolpath is used to cut along the outer or inner edges of a design to create a specific shape, typically a flat profile. It can be used for cutting the perimeter of a part, engraving, or trimming. The 2D profile toolpath can be set to cut along the inside or outside of a vector line, and the cutting depth can be adjusted based on how deep you want to go into the material.

- Cutting Depths:

Start Depth: 0.0 mm     Cut Depth: 12mm

- Tool: Fab Academy End Mill (5 mm)

- Tool Info:

Pass Depth: 7.0 mm      Stepover: 4.5 mm / 90%

Spindle Speed: 18000 r.p.m      Feed Rate: 90.0 mm/sec      Plunge Rate: 20.0 mm/sec

- Machine Vetors

Outside/ Right      Directoon: Climb

Toolpath Tabs are small, uncut sections left along the edges of a workpiece during the milling process to hold it securely in place while it's being cut. These tabs prevent the piece from moving or flying off the machine as it’s cut out. They are usually added to the 2D profile toolpath and can be removed later by sanding or sawing.

- Add Tabs:

Constante distance between tabs

Distance: 150.0 mm      Min. number: 1      Max. number: 5

Following the step-by-step process outlined above, we began by running the Drilling Toolpath to create the screw holes in the material. Afterward, we inserted woodies screws into the holes to secure the material firmly to the bed, ensuring it was completely flat and stable. With the material properly secured, we then ran the Profile Toolpath to cut out the desired shape.

Since the machine already had the correct coordinates from the previous step, there was no need to zero it again. Once the cutting process was complete, we turned off both the spindle and the machine. Finally, we removed the tabs using a saw and sanded the edges to achieve a clean, smooth finish.

3D milling (pleat mold)

For the 3D milling we made a Rhino designed pleat mould, for biocomposites. We were milling it out of a 50mm thick block of foam.

We began with a class by Asli to learn how to create molds in Rhino. While the concept might seem easy, designing effective molds requires specific considerations to ensure a functional and well-constructed outcome. For instance, it’s essential to include an offset between the two parts of the mold to account for the thickness of the material being formed.

Additionally, the CNC milling bit has a diameter of 5mm, so all sections of the mold must be at least that width. For our shopbot, the milling bit also has a maximum plunge depth of 30mm, which must be factored into the design to avoid problems.

Asli and Issy worked on creating the Rhino file, inspired by an origami paper folding design. You can follow her detailed documentation here and download the file here⁴. While preparing the design, they encountered challenges with the tight angles of the folds, which were too narrow for the milling bit to access. To address this, they used a sample milling bit head to test the mold and ensure it would be workable.

There was some concern about how the CNC machine would handle the intricate sharp corners in the design. Despite this, the milling process went amazing!

We opened VCarve and input the job setup parameters for the foam, setting the model dimensions to 250 x 250 x 50 mm. In the toolpath menu, we selected the Roughing and Finishing Toolpath operations, you can see all the parameters below. It was essential to preview the toolpath in the simulation to check the setup before proceeding.

To secure the foam to the sacrificial layer, we applied double-sided tape to the edges and middle of the foam, making sure not to overlap the tape, which could result in uneven surfaces. After pressing the foam firmly into place, we ensured that it was well-stuck to the bed.

Rough Machining ToolpathFinish Machining Toolpath

A Rough Machining Toolpath is the initial phase of the milling process, where material is removed quickly and in large quantities. The goal is to reduce the size of the material to the general shape of the design, leaving extra material around the edges for the final details.

- Tool: Fab Academy End Mill (5 mm)

- Tool Info:

Pass Depth: 5.0 mm      Stepover: 4.5 mm / 90% (doesn't matter with roughing)

Spindle Speed: 12000 r.p.m      Feed Rate: 80.0 mm/sec      Plunge Rate: 20.0 mm/sec

- Machining Limit Boundary: Model Boundary

- Machining Allowance: 1mm

A Finish Machining Toolpath is the phase that comes after rough machining and focuses on refining the shape and details of the part. It removes the remaining material left over from the rough machining process, providing a smooth, high-precision surface.

- Tool: Fab Academy End Mill (5 mm)

- Tool Info:

Pass Depth: 5.0 mm      Stepover: 4.5 mm / 90% (doesn't matter with roughing)

Spindle Speed: 12000 r.p.m      Feed Rate: 80.0 mm/sec      Plunge Rate: 20.0 mm/sec

- Machining Limit Boundary: Model Boundary

- Area Machine Strategy: Offset

Cut Direction: Climb

Next, we powered on the CNC machine and the spindle. We homed and zeroed the machine, just as I show in the step by step process above. After turning on the extractor, we set the spindle speed and started the roughing toolpath, after it finished we loaded the finishing toolpath and start it. It was important to monitor the machine closely to ensure that the job began correctly.

butterfly 3D milling mold

Issy and I decided to create another CNC-milled mold in addition to our pleat design. This time, we wanted to make a mold specifically for casting bio-composites. We really wanted to make something with wings, so we decided on a butterfly. We started by sketching the design in Illustrator and then transferred it to Rhino for refinement. However, we quickly realized that the interior shapes of our design were too intricate.

Using a milling head reference design that Asli had created, we overlaid it onto our file in Rhino to identify areas where the spacing between lines was less than 5mm, as you can see on the video below. To avoid potential issues during the machining process, we simplified the interior shapes, opting for a cleaner, more practical design. The refined design, as shown on the right image, was much better suited for the machine.

Once the 2D shape was finalized, the next step was to transform it into a 3D model. We envisioned a surface, where the butterfly center would gradually rise towards the wings edges, creating depth and dimension. To achieve this, we began by generating the domed surface. Then, we extruded the butterfly shape above the surface and used the Boolean Split command to cut the extrusion and having the domed surface profile.

We repeated the process for the interior shapes, but this time, we aligned them to a slightly lower surface, ensuring the interior details would sit at a recessed level compared to the wings. Finally, we added a base plate to complete the model.

You can download the file here³.

We then imported the .stl file to VCarve Pro and used the following parameters on the Toolpaths:

Rough Machining ToolpathFinish Machining Toolpath

A Rough Machining Toolpath is the initial phase of the milling process, where material is removed quickly and in large quantities. The goal is to reduce the size of the material to the general shape of the design, leaving extra material around the edges for the final details.

- Tool: Fab Academy End Mill (5 mm)

- Tool Info:

Pass Depth: 5.0 mm      Stepover: 0.5 mm / 10%

Spindle Speed: 12000 r.p.m      Feed Rate: 80.0 mm/sec      Plunge Rate: 20.0 mm/sec

- Machining Limit Boundary: Model Boundary

- Machining Allowance: 1mm

A Finish Machining Toolpath is the phase that comes after rough machining and focuses on refining the shape and details of the part. It removes the remaining material left over from the rough machining process, providing a smooth, high-precision surface.

- Tool: Fab Academy End Mill (5 mm)

- Tool Info:

Pass Depth: 5.0 mm      Stepover: 1.0 mm / 20%

Spindle Speed: 12000 r.p.m      Feed Rate: 80.0 mm/sec      Plunge Rate: 20.0 mm/sec

- Machining Limit Boundary: Model Boundary

- Area Machine Strategy: Raster

bio-composites

For the bio-composites, in addition to the two molds we milled using the CNC machine, we decided to explore molds created by previous participants in our lab. The molds shown below are the ones we experimented with, the first two are ours and the others four are from the lab. We created two types of bio-plastics, a resin and a silicone, incorporating fillers into the bio-plastics, like wool, fishnet fabric, lycra, and jute. Additionally, we tested a mixture of potato starch and glue.

Our plan:

• Heat-molding Bio Resin Wool = Bubbles mold (5)
• Bio Silicone Jute = Convex mold (6)
• Bio Resin Fishnet Fabric = Wiggles mold (4)
• Bio Resin Lycra = Pleats Mold (1)
• Potato Starch with Glue mixture = Butterfly mold (2)

For detailed bio-plastic recipes, you can refer to my documentation from the Bio-Fabricating Materials week. However, below, I’ve listed the ingredients and quantities you’ll need! The recipes are provided as ratios so you can adjust them based on the amount required.

Remember, for the resin, use a minimal amount of glycerine to have rigidity, for the silicone, use equal parts gelatine and glycerine.

For one of the bio-composites, we incorporated wool as a filler. To begin, we arranged the wool on a platter and poured the bio-resin on top. In hindsight, it would have been better to pour the resin first and then layer the wool, as its better to control the material's thickness and distribution.

Once prepared, we placed the composite into a dehydrator to cure. Afterward, we heat-molded it using the Bubble mold and a heat gun.

Bio-ResinBio-SiliconeStarch & Glue Mixture

Ingredients:

- 48gr Gelatine

- 8gr Glycerine

- 240ml Water

- tbd Pigment

Ingredients:

- 48gr Gelatine

- 48gr Glycerine

- 240ml Water

- tbd Pigment

Ingredients:

- 1 tbs Starch

- 2 tbs PVA glue

- 300 ml Water

Preparing the molds beforehand was a crucial step to ensure the material could be easily removed once set. To do this, we applied a thin layer of Vaseline evenly across the surface of the mold. On top of the vaseline, we added a layer of cling film. This preparation ensured that the final product retained its shape and detail without damage during removal.

For the butterfly mold, we opted to use the starch and glue mixture. We began by cutting strips of cotton fabric, which we would later saturate in the mixture. When preparing the mixture, we initially added water, but quickly noticed it was becoming too liquid. To maintain the right consistency, we decided to stop adding water.

Once the mixture was ready, we soaked the cotton strips, ensuring they were fully saturated. As we applied the strips to the mold, we carefully pressed them into every line, curve, and detail of the butterfly design to ensure the final material captured the mold completely. After completing the layering, we placed the mold in the dehydrator to dry and set.

For the other molds, once they were fully prepared with a layer of Vaseline and cling film, to ensure the material captured the mold's intricate details, we secured the cling film or any filler fabric, like lycra or jute, using pins to press it tightly into all the lines and curves of the mold.

We applied the bio-plastic in layers, brushing on a thin layer at a time. Once each layer dried, we added another, repeating the process until we achieved the desired thickness. Finally, we allowed the molds to dry naturally in the lab.

leather molding

Issy and I decided to collaborate on creating our own leather molding. Initially, we planned to craft the mold using the CNC milling machine, but since leather molding requires two mold parts, this approach would have take more time and materials. Instead, we chose to make the molds with acrylic sheets by laser cutting them, and followed the steps by Riley Cox.

We began by designing our file in Rhino, creating two simple test designs, one with organic curves and the other with sharper, spiky lines. Each design was positioned on a rectangular base and offset by 2mm to create a pair of molds. This setup allowed us to sandwich the leather between two acrylic molds: one featuring the design's positive shape and the other its negative counterpart.

You can download the file here².

We decided to experiment with different thicknesses of acrylic sheets to observe how they would impact the leather molding results. For the design on the left, we used 3mm acrylic sheets, while for the design on the right, we opted for 5mm sheets.

We started preparing the leather for the mold. Start by heating a large pot of water on the stove, ensuring it gets hot but never reaches a boil. Both synthetic and natural leather can be used, although we're not entirely sure which type ours was. We cut two pieces of leather, carefully measuring them to match the size of the acrylic molds. Once the water was sufficiently hot, we submerged the leather pieces in the pot, being mindful to avoid boiling. From Riley’s documentation, she mencioned that boiling can cause leather to shrink and harden, so we were cautious to keep the temperature controlled.

After 20 minutes, we carefully removed the leather from the pot and immediately placed it onto the acrylic mold. To clamp everything securely, we added additional acrylic sheets on both the top and bottom to evenly distribute pressure. The setup was left to dry over the weekend.

I absolutely love the final results! The acrylic molds performed amazing, and the difference in acrylic sheet thicknesses had a significant impact on the outcomes. The 5mm sheets created more pronounced and well-defined impressions, while the 3mm sheets produced a softer effect. The leather captured every line of the designs beautifully, but it's crucial to ensure the clamps are very tight!

reflections

• I thoroughly enjoyed experimenting with the Shibori technique, but I feel there’s so much more to explore. Using different fabrics could yield stunning results. I also love the combination of the dyeing process with the heating technique. This method is incredibly accessible and gratifying due to its simplicity and fast results, but there’s potential for deeper experimentation. For example, selecting differents wrapping objects can significantly influence the final patterns and shapes. It would also be fascinating to explore larger objects, potentially transforming this technique into sculptures, and you can use steam instead of boiling.

• The crystallization method was one of my favorites! I’m thrilled with how the project turned out, but there’s a lot more potential to uncover. Experimenting with objects beyond fabric, such as accessories or other items, could produce mesmerizing results. I love the concept of crystallizing objects as though encapsulating them in time, creating pieces that feel eternal.

• The leather molding produced great results, even though we only did laser-cut molds, which functioned more like stamps. I would love to mold leather on a body or exploring more complex forms such as gatherings, pleats, layered design, sculptural and tactical shapes.

• I’m also intrigued by traditional pleating methods and would love to try this approach.

• Working with the CNC machine was an incredible experience, though it’s a tool that feels very driven by precision and rules. It was invaluable for creating molds, especially since subtractive manufacturing is much faster and more efficient than 3D printing for this purpose. While I may not use it often, as it’s more suited to hard materials, I was impressed by how well the machine handled our designs, even the sharp and intricate shapes we initially thought might be too challenging. So I get really excited to explore further, more complex and detailed designs.

fabrication files

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1. File: Crystallization Laser Cut ↩

2. File: Leather Molding Laser Cut ↩

3. File: Butterfly CNC Milling ↩

4. File: 3D Pleat Mold Test ↩