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10. Textile Scaffold

Research

This week is about textile scaffolding, and it’s one of the weeks I’ve been most excited about. I had an idea that I wanted to execute even before joining the Textile Academy, which is why I’ve been looking forward to this week. It’s part of the "Chaos" concept, with the main focus being on body manipulation.

References & Inspiration

I drew inspiration for this part of the "Chaos" collection from the well-known series The Witcher. The story I want to convey is about creating a representation of a woman's body with an asymmetrical chest. This is meant to highlight and emphasize the immense struggles women go through to appear "perfect" and satisfy societal expectations. However, the message is that women are beautiful in all their forms.

The story in The Witcher that inspired me revolves around a sorceress who sells part of herself to a demon in exchange for becoming beautiful and attractive.

-References

describe what you see in this image


Tools

Process and workflow

MakeHuman

Initially, I created the body using MakeHuman and ensured that the size, shape, and design matched my vision. The most important adjustment I made was to the measurements and shape of the chest. MakeHuman is an open-source tool used to design realistic human characters, allowing control over features like age, gender, height, facial features, and more.

Workflow Steps:

  1. I opened MakeHuman and started with the default human model.

  2. I customized the figure according to the project needs (e.g., shape and size).

  3. After finishing the adjustments, I went to the "Files" tab.

  4. I selected Export > and chose the .obj file format to export the model.

  5. I saved the file to my device for further editing in Meshmixer.

meshmixer

After that, I transferred the body I created in MakeHuman to Meshmixer. I started by cutting and removing the parts I didn’t need. Then, I sculpted the desired shape of the chest using the sculpting tool within the program. I also emphasized certain features such as the abdomen, chest, and nipple.

After exporting the file from MakeHuman, I used Meshmixer to edit the model and prepare it for 3D printing or digital fabrication.

Workflow Steps:

  1. I opened Meshmixer and imported the .obj file from MakeHuman.

  2. I made several edits, including:

  3. Cleaning up unnecessary parts of the model.

  4. Trimming or adjusting the pose.

  5. Ensuring the model was watertight (completely closed for printing).

  6. I used the Inspector tool to check for holes or mesh issues.

  7. Once the model was clean and ready, I went to File > Export.

  8. I exported the file as an .stl, which is the standard format for 3D printing and CNC software.

rhino3d

Here, I used the Rhino application to prepare the body for cutting on the CNC machine. First, I scaled the model to correct the dimensions. Then, I split the piece into two halves because the CNC machine couldn’t accommodate the full height of 11 cm. The two parts ended up with heights of 53.2 mm and 56.9 mm, respectively. After that, I hollowed out the interior of the model, making it ready for the cutting process.

A BODY 1 by omarotuom on Sketchfab

CNC Machining with the ShopBot Introduction to the Machine For the CNC process, I used the ShopBot — a powerful and versatile CNC milling machine commonly used for cutting, carving, and shaping materials like wood, foam, and plastics. It is ideal for prototyping and fabrication in digital design workflows.

The ShopBot operates with high precision and is compatible with various 3D and 2D design files, including STL files exported from software like Meshmixer.

Software Used: VCarve To prepare the file for CNC machining, I used VCarve, the dedicated CAM (Computer-Aided Manufacturing) software for ShopBot machines. VCarve allows for importing 3D models, setting up toolpaths, adjusting material dimensions, and generating G-code for the machine.

Workflow Steps:

  1. Opened VCarve and imported the STL file.

  2. Set the material size, thickness, and origin point.

  3. Chose the appropriate toolpath (e.g., 3D roughing, finishing).

  4. Simulated the toolpath to verify accuracy.

  5. Exported the G-code specific to the ShopBot.

final resualt

The first step

Initially, I cut wood with a thickness of 3 cm into four blocks, each measuring 22 cm in width and 55 cm in length, using the CNC machine. I then glued every two blocks together with adhesive to achieve the required height for the piece. After that, I waited a full day to ensure the glue had set properly.

The second step

involved placing the prepared wooden blocks on the CNC machine to cut the shape. Once cut, the piece became two separate parts. I then glued the two parts together again and waited for two days to ensure a strong bond and proper adhesion.

Ingredients & Recipes

Also, this week we created crystallization using salt and aluminum sulphate. I drew inspiration for this from the "Chaos" collection and specifically focused on the color red.

Introduction

Crystals are solid materials whose atoms are arranged in a highly ordered, repeating pattern. These structures form naturally in the earth over time, but they can also be grown in laboratory environments using simple chemical processes. Lab-grown crystals are commonly used in science education, art, and experimental design.

The Science Behind Crystal Formation Crystals form when a substance transitions from a disordered state (like a solution or molten state) into a solid, allowing its molecules or atoms to organize into a fixed, repeating pattern.

In a lab, this typically involves creating a supersaturated solution—a liquid that holds more dissolved material than it can normally contain at a given temperature. As the solution cools or evaporates, the excess solute begins to come out of solution and form solid crystals.

  • The shape, size, and clarity of the crystals depend on various factors such as:

  • The type of chemical used (e.g., salt, sugar, alum, or aluminum sulfate).

  • The rate of evaporation or cooling.

  • The purity of the solution.

  • Presence of a "seed" crystal or nucleation point.

Common Chemicals for Crystal Growth One widely used chemical for growing crystals is aluminum sulfate (correct spelling). It reacts well in water to form large, visible crystals when the conditions are right.

Other chemicals include:

  • Potassium alum (used for translucent crystals).

  • Borax (used in arts and crafts).

  • Copper sulfate (forms bright blue crystals).

Why Crystals Are Relevant to the Project In this project, crystal growth was explored as a way to experiment with material transformation, slow formation processes, and natural patterning. The crystals can be integrated into wearable or sculptural forms, symbolizing the intersection between science and design.

The first experiment

In the first experiment, I used aluminum sulphate, where I added red food coloring to achieve the desired effect.

=== "ingredients"

    * 602 gr water 
    * 188 gr aluminum sulphate

the second step

I mixed the ingredients until they completely dissolved in the water. Then, I placed the mixture in a jar and submerged the fabric in it, leaving it for two to three days. It began to show amazing results.

In the second experiment with aluminum sulphate, I made a wooden loom using nails and formed the threads on it, inspired by my "Chaos" collection. Then, I placed the solution in a spray bottle and began spraying the threads for three days to achieve the final shape.

The final result

of the solution using aluminum sulphate gave me a unique texture and pattern on the threads. The aluminum sulphate reacted with the fabric, creating a distinct crystallized effect that captured the chaos concept beautifully. The threads held the shape well, and the effect was both delicate and bold, adding a striking dimension to the fabric.

the second experiment

In the second experiment with salt, I followed the same steps as with aluminum sulphate but used a larger amount of salt instead, without adding food coloring. I left it in its original color, allowing the natural texture of the salt to interact with the fabric, creating a different but equally interesting crystallized effect.

* 700 gr water 
* 400 gr salt