2. Digital bodies¶
Research & Ideation¶
Digital bodies are virtual representations of human bodies created through various methods. 3D modeling software allows for the creation of digital bodies from scratch, while 3D scanning technology captures the physical form of a real human body to create a digital replica. Once the digital model is created, it can be further refined and manipulated using software like Fusion 360. To prepare the model for manufacturing, slicing software divides it into layers, generating G-code instructions for a laser cutter. The laser cutter then follows these instructions to physically cut the material, layer by layer, resulting in a 3D mannequin. This process enables the transformation of a real human body into a detailed and accurate digital representation and ultimately, a physical 3D object.
Inspiration: Artists and Projects¶
Artist 1: Rayvenn Shaleigha D'Clark¶
A London-based digital sculptor who creates detailed, lifelike human sculptures.
PROCESS: D'Clark uses a combination of 3D scanning, 3D printing, and traditional bronze casting techniques to create hyperrealistic sculptures of anonymous individuals. She first scans the subjects, then uses 3D printing to create a detailed model. Finally, the model is cast in bronze to create the final sculpture.
Rayvenn Shaleigha D'Clark Artwork: BLACK RENAISSANCE¶
Artist 2: Scott Eaton¶
Scott Eaton is a digital artist who skillfully blends traditional sculpting techniques with cutting-edge digital tools to create hyperrealistic human figures.
PROCESS: He uses a variety of digital sculpting tools to create his work, including ZBrush and Blender. Once the digital sculpture is complete, he can use 3D printing to create a physical model or collaborate with other artists to create traditional sculptures based on his digital work.
Scott Eaton Artwork: DIGITAL SCULPTURES¶
MY PROJECT FOR DIGITAL BODY¶
For this project, I will be exploring the human form by focusing on the male head. I believe the head, with its intricate features and complex expressions, offers a profound window into human identity, emotion, and individuality. By creating a digital representation of the male head, I aim to capture the essence of human presence – the unique blend of strength, vulnerability, and the capacity for thought and feeling that defines us.
The use of 3D scanner¶
This week we learned about using optical 3D scanners to create digital models of real-world objects. The process begins by connecting the optical 3D scanner to a computer, typically via a USB cable, which allows us to see the scanning progress in real-time on the screen. We then prepare the object to be scanned, sometimes using special markers or spray to improve the scanner's ability to capture its surface details. Optical scanners work by projecting a pattern of light onto the object and using cameras to capture the distorted pattern. As the scanner moves around the object, or the object is rotated, it captures multiple images. Specialized software on the connected computer processes these images, extracting the shape and texture information and stitching them together to form a complete and accurate 3D model. This software also allows us to see a preview of the scan as it progresses, giving us immediate feedback and letting us know if we need to rescan any areas. Once the scan is complete, we can further refine the 3D model within the software, cleaning up any imperfections and preparing it for use in various applications.
optical 3D CANNER¶
The whole process from scanning model to slicing it¶
My journey to create a physical representation of a 3D scanned object began with capturing the initial form using a 3D scanner. This process generated a digital 3D mesh, a collection of interconnected polygons that represent the surface of the scanned object. The raw scan data, however, often contains imperfections like holes, non-manifold geometry, or excessive noise. Therefore, the next crucial step involved refining the 3D mesh within Blender, a powerful open-source 3D creation suite.
Within Blender, I imported the 3D scan data. The first task was to clean up the mesh. I entered Edit Mode, which allowed me to directly manipulate the vertices, edges, and faces of the mesh. Using the "Fill Holes" tool, I closed any gaps or openings in the mesh that could cause problems during the slicing process. I also used the "Decimate" modifier to reduce the polygon count, simplifying the mesh while preserving its overall shape. This was important for making the model more manageable for both Blender and the slicing software, and also for reducing the complexity of the final laser-cut pieces. The "Smooth Shading" option helped to refine the surface appearance, making it easier to visualize the final form. These tools, combined with careful manual adjustments, allowed me to create a clean and optimized 3D mesh ready for slicing.
With the refined 3D model prepared in Blender, I moved on to the slicing process. I exported the cleaned mesh from Blender in STL format, then imported it into Slicer for Fusion 360. This software specializes in dividing 3D models into layers that can be cut and assembled. I chose the "Stacked Slices" construction technique, which creates a series of flat layers that are stacked on top of each other to form the final 3D object. This method was chosen for its relative simplicity in both the cutting and assembly phases. Within Slicer, I adjusted parameters like slice thickness, kerf compensation (to account for the laser cutter's beam width), and the direction of the stacking. After generating the slicing plans, the software presented me with the 2D patterns representing each slice.
To prepare these patterns for laser cutting, I exported them from Slicer for Fusion 360. At the bottom of the Slicer window, I found several export options, including PDF, EPS, and DXF. I selected PDF as my export format. I then chose a location on my computer and saved the PDF file. This PDF file contained the 2D patterns, each slice on a separate page, ready to be imported into CorelDRAW. Opening the PDF in CorelDRAW revealed the individual slices, laid out and ready for further adjustments before sending them to the laser cutter. This step was crucial for ensuring the patterns were optimized for the specific laser cutter I would be using, accounting for its kerf and other settings.
The file preparation for laser cutting and the workflow including the machine settings, material type and thickness¶
After exporting my sliced patterns as a PDF from Slicer for Fusion 360, I opened the file in CorelDRAW. Each slice was conveniently placed on a separate page, making it easy to work with them individually. Because I was using 3mm MDF wood, I knew I had to account for the kerf, the material removed by the laser beam. I carefully checked each slice in CorelDRAW to ensure there were no overlapping lines that could cause problems during the cutting process. I also added small registration marks to each slice to help with alignment during the final assembly. These marks would serve as visual guides, ensuring the layers were stacked correctly. Importantly, I noticed how Slicer for Fusion 360 had efficiently arranged the slices. The software had intelligently nested smaller slices within larger ones, maximizing the use of material and minimizing waste. This collage-like arrangement meant that each board or sheet of MDF would be fully utilized.
With the patterns prepared and optimized in CorelDRAW, I was ready to connect to the laser cutter. My industrial Full Spectrum laser cutter uses a Wi-Fi connection. I plugged the Wi-Fi cable into the laser cutter and then located the machine's Wi-Fi password, which was displayed on its screen. I opened a web browser on the connected computer and entered the Wi-Fi password into the address bar. This opened the laser cutter's control panel, a web-based interface that allows control over the machine's operations.
Within the laser cutter's control panel, I started a new project. The interface allowed me to upload my prepared PDF file directly. I navigated to the location of the PDF on the computer, selected it, and clicked "Open." The laser cutter's system then processed the PDF, recognizing the vector lines representing the sliced patterns. I double-checked that all the slices were correctly imported and oriented within the control panel's preview window. I could see how the software preserved the efficient arrangement created by Slicer for Fusion 360, ensuring that the laser cutter would cut the slices in the optimized layout.
Before starting the cut, I configured the laser cutter settings. For 3mm MDF, I used the following parameters: a speed of 100%, power at 100%, current at 100%, and two passes. These settings were based on previous experience with this material and laser cutter, ensuring a clean and complete cut through the 3mm MDF. After verifying all the settings and ensuring the MDF sheet was properly placed and secured on the laser cutter bed, I initiated the cutting process through the control panel. The laser cutter then precisely followed the paths of the vector lines in the PDF, cutting out each slice of my 3D model from the MDF. In the end, my project required cutting 53 individual pieces, efficiently arranged across five sheets of MDF thanks to the optimized layout from Slicer for Fusion 360.
Fabrication files¶
assemble a mannequin¶
To assemble this head mannequin, organize the wood slicers numerically, starting with slicer 53 at the top and ending with slicer 1 at the bottom. To attach each wood slicer to the next, I use wood glue.
Process and workflow¶
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Step¶
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Step¶
The laser cut nesting 2 was created using..
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Step¶
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footnote fabrication files
Fabrication files are a necessary element for evaluation. You can add the fabrication files at the bottom of the page and simply link them as a footnote. This was your work stays organised and files will be all together at the bottom of the page. Footnotes are created using [ ^ 1 ] (without spaces, and referenced as you see at the last chapter of this page) You can reference the fabrication files to multiple places on your page as you see for footnote nr. 2 also present in the Gallery.
3D Models¶
upload the 3d models of MakeHuman, Final 3d modelled body, 3D Scans, etc
Videos¶
learn how to add video tutorials, inspirational videos and movies etc
From Vimeo¶
Sound Waves from George Gally (Radarboy) on Vimeo.
From Youtube¶
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Fabrication files¶
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File: 3d modelling of mannequin ↩↩