2. Digital bodies¶
Research & Ideation¶
Drew Colby - Hand Shadow Artist
I used this week’s theme of Digital Bodies to revisit previous performance explorations around the adaptable meanings of gesture. I knew that I wanted to work in full-scale so I focused my ideation around the hand, which was a body part I knew I could achieve in full-scale with my laser cutter. My research process included watching videos of performances that focus on the hand, sourcing images from Pinterest, and researching the different meanings of hand gestures across time and space.
References & Inspiration¶
I am especially drawn to figurative explorations of scale. Knowing hands would be my focus, I was reminded of Lorenzo Quinn’s Building Bridges, which I had the opportunity to experience at the 2019 Venice Biennale. The work features six pairs of monumental hands that bridge the basin of the Arsenale, depicting six of humanity's universal values - 'Friendship', 'Faith', 'Help', 'Love', 'Hope', and 'Wisdom'. The project's intention was both a symbol of our commonality and an expression of human aspiration. When searching for images of this work, I also came across images of Support. This project was created in 2019 for the Climate Change Conference. The sculpture served as a reminder of rising sea levels that threaten Venice and all coastal cities around the world.
Tools¶
Process & Workflow¶
Step 1: Learn the Laser Cutter¶
I will be working on two laser cutters this year. I will use the Xtool M1 Ultra in my studio for small-scale projects and sampling. I have access to a Rayjet 300 Laser Engraver at Portland State University’s Digital Fabrication Lab. Shout out and thank you to the amazing Emma Duehr for supporting my work in this space!
Step 2: Source & Manipulate 3D Form¶
I used CLO3D for sourcing and posing my model. I sourced a free rigged hand avatar file from the CONNECT store and used the “Show Avatar Joints” feature to view and adjust the skeleton until I created a pose that I liked. Once I had finalized the pose, I exported it as an OBJ that I could import into Fusion 360.
For the full body scanning, I used the In3D scanning app with my phone and inported into CLO3D using the Avatar Converter. From there I was able to use the use the Avatar Joint feature to adjust the pose.
Step 3: Translate to Laser Cut File¶
I used Fusion 360 to generate the cut plan for my laser-cut file. Because of the size and finger gesture, the Stacked Slicer was the best option for the model. Other options generated errors or abstracted the form to the point where the gesture was lost. I think it was in this stage that the scale got off. In the future, I will use calipers to measure the hand and check the dimensions with the adjustable options in the Object Size window. The program generated the nesting scheme, and I was able to export plans as a DXF file.
Step 4: Cutting & Assembly¶
Figuring out a workflow on my own from Fusion 360 to the laser cutter took some time, and I still need to find a better system for scaling files. I created this video for colleagues who have issues with this in the future. Here is what eventually worked this time:
- To cut with the Xtool, convert the DXF file generated in Fusion 360 into an SVG file in Inkscape. DXF files would not allow me to assign different score and cut outputs to the red lines and blue lines in Xtool Creative Studio.
- In Creative Studio use the + button to import the SVG file, then resize the file to fit your cut area using the Shift key to maintain proportions. If your project has more than one panel, make sure to note the scaled size at the top of the window and ensure it is the same on each panel.
- Set up corrugated cardboard in the laser cutter and select the following settings at the top: Mode - "Lasering on flat surface" / Material - "Corrugated Cardboard"
- Click the flag icon and follow prompts to "Mark the processing area". Click on the ruler icon to "Auto-measure" the thickness of your material
- At the bottom right, select the red dot to set the processing instructions for the piece numbers and dowel positions. In the settings window on the right, select "Score". Use the one-click set to box below to preview power/speed combinations for the cardboard. For this project, I used Power 20%/Speed 130/Pass 1 to score the red lines.
- At the bottom right, select the blue dot to set the processing instructions for the cut shapes. In the settings window on the right, select "Cut". Use the controls below to select the settings you want to use. For this project, I used Power 90%/Speed 10/Pass 1 to cut the blue lines.
IMPORTANT - Xtool does not seem to have recommended settings for cutting the cardboard. Do small samples find the magic combo for cutting through the material and not burn down your house. I had success using the ones used on this YouTube video. It did produce more smoke/odor than I was comfortable, so I will likely continue exploring.
Once cut I organzied the parts numerically for assembly. I began my assembly using T-pins as temporary dowels. This worked for the wrist, but I needed to refer to the "Assembly Steps" in Fusion 360 for the positioning of the fingers. I check each layer at different angles to ensure that it was correctly stacked. If doing this again, I would try threading thin wire or fishing line through the holes of the fingers to see if that would create a more accurate replication of the gesture.
Completed Model¶
Videos Referenced¶
Edna Resin Tutorials | xTool M1 - Laser Cut AND Engrave Paper & Cardboard
