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10. TEXTILE SCAFFOLD

Introduction: Textile Scaffold

Textile scaffolds are fiber-based structures that function as supporting, shaping, or growth-enabling frameworks. They can be flexible or rigid & are created through the interaction of textiles with processes such as casting, crystallization, composite formation, or molding. Across disciplines — from architecture & material science to biodesign & fashion — textile scaffolds are used to generate 3-dimensional forms, guide material growth, or act as substrates for new structural formations.

Within the Fabricacademy context, the focus lies on experimental & exploratory approaches: - How can textiles serve as active agents in shaping materials? - How can fiber structures influence form, behavior, & transformation?

INSPIRATION & REFERENCES

LENA RUAN

Lena Ruan is a student at Central Saint Martins & a rising textile & fashion designer based in London & Vienna. She explores her bi-cultural identity & experimental textile practices through her BA collection, blending craftsmanship with contemporary form. Her process-driven work, tagged under @lena.ruan, reflects both conceptual depth & material precision. instagram: lena.ruan

KOFTA

Konstantin Kofta is a Ukrainian-born designer who transforms leather into sculptural, architectural accessories. Drawing on inspirations from anatomy, Baroque forms & insect metamorphosis, he blends high-tech techniques like 3D-modelling with traditional craft to produce wearable art at the intersection of design & fine art. koftastudio.com instagram: koftastudio

BERNARDITA COSSIO

Bernardita Cossio is a Chilean artist whose work fuses sewing & ceramics by pouring liquid clay into hand-stitched leather molds that capture the contours of textile skin. The resulting porcelain pieces carry the imprints of seams, folds, & pressure, transforming soft fabric processes into sculptural permanence. www.ditacossio.com instagram: ditacossio

VALIA KAPELETZI

Valia Kapeletzi is an Athens-based textile designer & artist whose work explores material transformation through experimental, handcrafted processes. Inspired by organic forms & natural textures, she creates sculptural textiles & installations that engage with light, transparency, & spatial perception. I first met Valia during my internship with Iris van Herpen in Amsterdam. www.valiakap.com instagram: valiakap

MENDER MAKER

Laura Brown, known as MenderMaker, creates textile artworks that preserve the emotional narratives held in used fabrics. By transforming familiar, sentimental materials, she highlights their personal and sustainable value www.mender-maker.com instagram: mender.maker

SILKE DECKER

Silke Decker is a German designer & artist who explores the expressive possibilities of porcelain beyond tradition. Working with minimalist forms & her signature “cord porcelain” technique, she transforms the material’s soft, raw flexibility into contemporary, tactile objects with a distinct & recognizable aesthetic. www.silkedecker.de instagram: silke.decker

MINERAL SERIES

Isaac Monté is a designer exploring sustainability through experimental materials and biotechnology. By transforming waste streams into provocative objects, he challenges consumption habits and imagines new ecological futures. His work is exhibited internationally, including in the Centre Pompidou collection. www.mineralseries.com instagram: isaacmonte instagram: mineralseries

DARRYL BEDFORD

Darryl Bedford is an Australian paper artist who merges origami with digital design to create kinetic, radiolarian-inspired sculptures. His work spans art, fashion, architecture, & robotics, & has been showcased internationally. He also champions paper as a therapeutic & educational tool. www.drawstringorigami web: beacons.ai instagram: vectoriseart

PRIVIOUS PROJECTS

FROM BACKPACK TO BACK

Foldeble Backpack: sandwitch Material

BUGPACK

Leather molded Backpack: of an PILLBUG

ASSIGNMENT - TEXTILE SCAFFOLD

1. CRYSTALLISATION

For this experiment, I explored how textiles can act as scaffolds for crystal growth, combining fiber structures with chemical processes to create visually striking & tactile formations

During this Experimentation, we were guided in the LAB by Maria José.

We used her recipe for Borax crystallisation:

Ingredients:

  • 100 g water
  • 65 g Borax

First, I measured 300 ml of water + 195 g of Borax & combined them. Unfortunately, despite constant stirring, the Borax quickly settled at the bottom & hardened. It took hours to dissolve the solid mass again using heat, continuous stirring, shaking, & scraping. For the next attempt, I heated the water right from the start & added the Borax only in small portions, step by step, with constant stirring. This method worked significantly better!!

DEVELOPER MODE

During my later research, I noticed that there seems to be no universal recipe for Borax crystallisation: the quantities vary widely — from 65 g per 100 ml to 50 g per 500 ml.

First, I divided the dissolved Borax solution into 2 containers & placed leftover pieces of my BioChrome textiles into the solution.

It is important to position the samples so that they hang freely in the solution & do not touch the container walls or the bottom.

The solution quickly turned yellow / orange. After only a few hours, crystals had begun to form on the fabric sample & on the wool.

Meanwhile, excess Borax settled at the bottom of the container.

Additionally, I also hung small eucalyptus branches into the solution.

Step Description Notes / Tips
1. Prepare the solution Measure water (e.g., 300 ml) & weigh Borax (195 g). Simple mixing at room temperature often fails; Borax settles quickly at the bottom.
2. Dissolve the Borax Heat the water, add Borax in small portions, stir continuously, shake or scrape as needed. Patience is key; small incremental additions dissolve much better.
3. Divide the solution Pour the prepared solution into separate containers for your samples. Make sure each container has enough solution to fully submerge the textile pieces.
4. Place the samples Hang BioChrome textiles, wool, or branches in the solution. Ensure samples do not touch container walls or the bottom. Free-hanging allows crystals to form evenly on all surfaces.
5. Observe crystal formation The solution quickly turns yellow/orange; crystals start forming within a few hours. Excess Borax settles at the bottom; monitor solution for oversaturation.
6. Experiment with variations Add additional elements such as eucalyptus branches or 3D-printed TPU shapes on textiles. Shapes & geometry influence the crystalline growth pattern & final aesthetics.
7. Finish / Remove samples Carefully remove objects once the desired crystallization is reached. If crystallization is too fast, surfaces can break or detach.
8. Document results Take photographs, note observations, & analyze the crystal growth. Essential for reproducibility & aesthetic documentation.

2. CRYSTAL GLASSES

For another crystallisation experiment, I decided to create an object using 3D printing on textiles.

The project began with a conceptual design phase, in which initial ideas were developed using AI-generated references & sketches to define the overall geometry & aesthetic direction.

Based on this concept, I generated a 3D sunglasses model in StudioTripo, using an image that I had previously created with the help of ChatGPT as a visual reference. This AI-generated image served as a starting point to define the overall form language, proportions, & structural rhythm of the object, translating a speculative visual idea into a 3-dimensional model. The model was then imported into Rhino CAD, where the size & proportions were carefully refined to match the intended scale of the object.

To prepare the object for fabrication, I used Fusion Slicer to generate a 5-part geometric layout from the 3D model. During this step, particular attention was paid to creating as few segments as possible while keeping them as large as feasible, without compromising the original form. This segmentation strategy was chosen to increase structural stability during printing on textile & to reduce weak connection points between elements.

The workflow emphasized segmented & triangulated structures, as these geometries resonate strongly with crystalline growth patterns & visually support the concept of material accumulation. After defining the segmentation, the line geometry was cleaned & organized in Rhino CAD. Parallel curves were then generated & expanded into a volumetric 3D body with a height of 1 mm, transforming the 2-dimensional line work into a printable scaffold suitable for flexible TPU printing.

The resulting pattern consisted of triangulated sections designed to be printed directly onto fabric & subsequently submerged into a Borax solution for crystallisation. Although triangular geometry can be considered somewhat conventional, the crystalline segmentation proved to be a precise conceptual match for the crystal-growth process, reinforcing both the visual coherence & the material logic of the experiment.

Materials & Software

  • Chat GPT
  • StudioTripo
  • Rhino CAD
  • Fusion Slicer
  • 3D printer (FDM)
  • Textile: Net
  • TPU filament
  • Borax solution

Fabrication

The 5 triangular segments were printed directly onto fabric using TPU.

  • First, I printed 2 layers / 0.4 mm.
  • Then I stretched the textile over the print bed using clamps,
  • adjusted the Z-axis,
  • & restarted the print directly onto the textile.

(For the X segment, this method worked very well. For the PRUSA , I had several issues & eventually had to stop the print.)

There is also the option to set this up directly in the slicer by adding a pause after the first layers, so the printer stops automatically & continues printing at the correct height after the textile is mounted.

During printing, the filament fused with the textile, creating a hybrid material: soft textile base + rigid geometric scaffold.

Once printed, the pieces were cut out & glued together.

During the process — & due to the lack of stability — the TPU was very flexible, the number of layers may have been too low, & the print had been interrupted earlier than planned. As a result, the assembled model turned out too soft & unstable to function as the intended pair of glasses.

Therefore, I decided to abandon the eyewear concept for this experiment & instead transformed the printed segments into a more abstract sculptural object.

Afterwards, I prepared 1.5 liters of solution for immersion in the Borax crystallisation bath.

Out of concern that the solution might still be too hot & could cause the 3D print to detach from the mesh, I let it cool down slightly.

In hindsight, this was likely a mistake: the crystallisation began very quickly, a large amount of Borax settled at the bottom, & I suspect the solution may have been oversaturated.

This made the removal the next day difficult, & the object was damaged in the process.

While I am somewhat disappointed with the final piece, I am very pleased with the photographs I captured.

Step Description Materials / Software Notes / Tips
1. Concept & Design Create initial design for the crystallisation glasses concept using AI or sketches. ChatGPT (concept generation) Helps define the initial geometry & aesthetic direction.
2. 3D Model Creation Create the base geometry of the glasses in StudioTripo. StudioTripo
3. Adjust Size & Proportions Refine the model scale & proportions. Rhino CAD Ensure the object matches the intended wearable or sculptural scale.
4. Prepare Geometry for Printing Export line geometry & prepare it for further processing. Rhino CAD Clean & organize curves before volume generation.
5. Create Volumetric Geometry Convert the generated lines into parallel curves & 3D solid Rhino CAD This step transforms 2D line work into printable volumetric geometry suitable for TPU printing.
6. Slicing for 3D Printing Slice the 3D geometry, triangulated geometry & prepare print settings. Fusion Slicer Configure layer height, print order, & optional pause for textile placement.
7. 3D Printing on Textile Print TPU directly onto a net textile using an FDM printer. 3D printer (FDM), TPU filament, Textile: Net Print first layers (approx. 0.4 mm), pause, stretch textile, adjust Z-axis, then continue printing.
8. Assemble Segments Cut out and assemble the printed segments into one object. Adhesive / glue Low layer count can result in a very flexible structure.
9. Crystallisation Bath Submerge the assembled TPU–textile object into the Borax solution. Borax solution Let the solution cool slightly before immersion to avoid detachment.
10. Observation & Documentation Monitor crystal growth and document results. Camera / notebook Crystal formation begins within a few hours.
11. Final Outcome Carefully remove the object once crystallisation is complete. – Oversaturated solutions may damage fragile areas.

3. WOOL x CERAMIC

For the next scaffold Assignment, I decided to experiment with textile x ceramic techniques. I crocheted a small vase from wool & then dipped it into liquid casting slip.

To hold the shape, I stuffed the inside with napkins & used toothpicks to position & support the form.

After shaping, I dried the piece with a heat gun & continued drying it in the oven at 40 °C.

Once fully dried, the piece was placed in the ceramic kiln & bisque-fired without glaze, following standard firing parameters for casting slip (approximately 900–980 °C with a slow heating cycle of 8–10 hours).

Conclusion

The final outcome of the wool–ceramic experiment was somewhat unexpected. Based on the thickness & surface behavior of the upper section, I suspect that the piece may have been dipped into the casting slip a 2. time before being placed in the kiln.

This would explain why the upper half, which initially appeared to be slightly under-saturated, became significantly thicker after firing & even formed visible drip-like accumulations. Otherwise, this material behavior is difficult to explain solely through drying or firing effects.

Despite this uncertainty, I am satisfied with the results of the experiment. The combination of a soft, crocheted textile scaffold with liquid ceramic slip demonstrates strong potential as a forming technique, particularly in how the textile structure influences thickness, texture, & material distribution. The transformation from a flexible fiber structure into a rigid ceramic object highlights the role of textiles as active scaffolds rather than passive molds.

For future iterations, I believe that using a thicker cotton yarn could be advantageous. Cotton is similarly absorbent but has a smoother surface than wool, which could allow the knitted or crocheted pattern to remain more legible in the fired ceramic. This suggests promising opportunities for further refinement & development of the technique.

4. DENIM MOLD

For another textile–ceramic experiment, I created double-layered vase forms using leftover denim.

My goal was to transfer both the fabric texture &, even more importantly, the seams into the clay body.

Once the textile forms were sewn, I built a hanging rig to suspend them & then filled each form with casting slip.

  • In the first form, I left the slip inside for about 50 minutes, resulting in a wall thickness of roughly 4 mm.

  • In the second form, the slip remained for around 1 hour & 25 minutes, producing a wall thickness slightly above 5 mm.

After carefully pouring out the slip, I kept the forms hanging longer & placed a board underneath to help flatten & stabilize the base of the vase.

When they were stable enough to move, I transferred them to the drying oven & dried them at 40 °C for a few hours. From time to time, I tried to gently open the seams & remove the clay vase from the denim mold. However, the drying process was uneven: the top dried too quickly & began to crack, while the bottom was still soft & unstable.

Because of this, I decided to leave the clay inside the denim form & fire both materials together in the kiln.

Final Result & Conclusion

Unfortunately, both denim–ceramic vases did not "survive" the firing process.

I assume that the failure was caused by internal stress within the material, resulting from significantly uneven wall thicknesses. While the upper areas of the vases had a wall thickness of approximately 4–5 mm, the lower sections became relatively massive, reaching up to 1–2 cm. This imbalance likely led to differential drying & shrinkage, ultimately causing structural failure during firing.

In hindsight, the forms would have benefited from a longer & more controlled drying phase, ideally suspended upside down for an extended period to allow moisture to evaporate more evenly throughout the object. A slower drying process could have reduced internal tension & increased the chances of survival during firing.

Despite the unsuccessful firing outcome, I am extremely satisfied with the experimental results.

The transfer of the denim fabric texture &, in particular, the seams into the clay body was highly successful & visually striking. The ceramic surfaces captured the textile structure in great detail, clearly demonstrating the potential of denim as an active textile mold rather than a passive container.

For future experiments, I believe that using porcelain instead of casting slip could further enhance the surface quality. Porcelain would likely allow for finer texture transfer while maintaining structural integrity at a consistent wall thickness of around 4 mm.

With careful control of thickness & drying conditions, this technique has strong potential for further development & refinement.

Step Description Materials / Tools Parameters / Notes
1. Concept & Goal Define the experiment: using denim as a textile mold to transfer fabric texture & seams into ceramic. Sketches / concept Focus on seams as structural & visual features.
2. Textile Mold Construction Sew double-layered vase forms from leftover denim. Denim fabric, sewing machine / needle Double layer increases stability & texture transfer.
3. Suspension Setup Build a hanging rig to suspend the textile molds during casting. Rope, frame, hooks Hanging allows gravity-based shaping & even wall formation.
4. Casting Slip Filling Fill the suspended textile molds with casting slip. Casting slip Ensure molds are fully filled without air pockets.
5. Wall Thickness Control Leave slip inside the molds for controlled time periods. Timer Form 1: ~50 min → ~4 mm wall thickness; Form 2: ~1 h 25 min → >5 mm wall thickness.
6. Slip Removal Carefully pour out excess slip from the molds. Container Avoid deformation during pouring.
7. Base Stabilization Keep molds hanging & place a board underneath to flatten & stabilize the base. Wooden board Helps prevent collapse & uneven base formation.
8. Drying Phase Transfer forms to drying oven & dry at low temperature. Drying oven ~40 °C for several hours; drying was uneven (top dried faster than bottom).
9. Attempted Demolding Gently open seams to release ceramic from denim mold. Hands / small tools Cracking occurred due to uneven drying and soft lower sections.
10. Decision Point Leave ceramic inside textile mold due to instability. — Prevents collapse during handling.
11. Firing Fire clay & denim together in the ceramic kiln. Ceramic kiln Both vases failed during firing due to internal stress.
12. Evaluation Analyze failure & surface results. Visual inspection Strong texture & seam transfer; structural failure due to uneven wall thickness (4–5 mm top, up to 1–2 cm bottom).
13. Future Improvements Define next steps & material optimizations. Porcelain, adjusted drying setup Aim for consistent ~4 mm wall thickness, slower drying, upside-down suspension.

5. PVA + CELLULOS

For the next Assignment / short project, I reused the ant abdomen molds that I had 3D-printed in PLA for my BIOFABRICATING MATERIALS Assignment (for growing mycelium).

I also saved the washed-out PVA filament from the Ashes to Ashes project.

For this experiment, I tore paper napkins into small pieces & layered them into the mold, applying liquid PVA between each layer.

During the first attempt, the material was extremely difficult to remove from the mold. I finally managed to release it using a heat gun, but the material became dented & deformed in the process.

The surface texture of the mold was only partially transferred. In the areas where the PVA was applied too thickly, the drying process was noticeably slower.

For the next attempt, I first coated the inside of the PLA mold, then poured liquid PVA into it, & again placed small pieces of paper towel on top. Afterwards, I pressed the material from the first attempt back into the mold.

The material can be worked very thin, making it lightweight, slightly translucent, & flexible.

Step Description Materials / Tools Notes / Observations
1. Reuse of Existing Molds Reuse previously 3D-printed ant abdomen molds. PLA 3D-printed mold Mold originally designed for mycelium growth (BIOFABRICATING MATERIALS assignment).
2. Mold Preparation Coat the inside of the PLA mold with a thin layer of Vaseline as a release agent. Vaseline, brush / cloth Prevents strong adhesion & facilitates demolding.
3. Material Preparation Tear paper napkins into small pieces & prepare liquid PVA. PVA (liquid), paper napkins Small pieces allow controlled layering & even absorption.
4. Layering Process Place paper napkin pieces into the mold & apply liquid PVA between layers. PVA, paper napkins, PLA mold Avoid overly thick PVA layers to ensure even drying.
5. Filling & Saturation Continue layering until the mold is evenly filled & fully saturated. — Thin, uniform layers improve surface definition.
6. Drying Allow the material to dry completely inside the mold. Ambient drying / heat gun (optional) Thinner areas dry faster & more evenly.
7. Demolding Carefully remove the dried PVA–cellulose composite from the mold. Hands Release is significantly easier due to Vaseline layer.
8. Material Evaluation Evaluate thickness, flexibility, translucency, & surface texture. Visual & tactile inspection Material is lightweight, flexible, & slightly translucent when worked thin.

6. LEATHER MOLDING

For the final short project of the Textile Scaffold Assignment, I chose LEATHER MOLDING.

I decided to use my 3D scans of my ears — previously used for earrings — & translate them into a leather Crossbody / Clash.

Materials

  • (Vegetable-tanned) leather – approx. 3 mm thickness
  • MDF boards – 18 mm thickness (for CNC-milled pressing mold)
  • Wood glue – for assembling stacked MDF mold parts
  • Waterproof wood glue / sealant – for sealing mold surfaces
  • Sandpaper – fine grit (for final surface smoothing)
  • Water – for soaking & softening the leather prior to molding
  • Clamps / screw clamps – for pressing leather between mold halves

Software

previous: - Smartphone camera - video recording for 3D capture - Meshroom - photogrammetry processing & mesh generation

  • Rhino CAD – Scaling, surface generation, offsetting, sectioning, & mold preparation
  • VCarve (Vectric) – CAM software for CNC toolpath generation (roughing & finishing)

Machines

  • ASIA Robotica CNC Machine – Milling of the two-part MDF pressing mold
  • Vertical Circular Saw – Manual separation of mold parts
  • Table Saw – Straight cutting & trimming of MDF sections
  • Band Saw – Additional shaping & refinement of mold parts
  • Handheld Dremel – Surface finishing & removal of CNC toolpath marks

First, I scaled the 3D model to the desired dimensions in Rhino CAD: approx. 29 × 17 cm. Then I used the command “Patch over object” to create a surface without undercuts.

With “Offset surface”, I generated a 2. surface with a 3 mm offset, corresponding to the thickness of the leather I planned to use.

I decided to mill a 2-part pressing mold from 18 mm MDF. To do this, I adjusted the model height to match the material thickness, so that both mold halves — positive & negative — consisted of 4 stacked plates, which I then glued together.

Next, I divided the molds into 18 mm sections using the Boolean Split command & arranged the segments side by side.

Between the 8 parts, I left 6.35 mm of spacing — the width of the drill bit — so the bit could separate the pieces directly during milling.

Additionally, I created a surrounding boundary around the positive mold parts to minimize free-cutting time. Finally, I connected all parts with small bridges/tabs to prevent individual segments from moving or breaking out during the milling process.

VCARVE Software

VCarve is a CNC software by Vectric designed to prepare milling jobs & generate toolpaths.

It allows users to create & edit 2D & 3D designs — from simple shapes to complex models such as reliefs, text, logos, & decorative details.

VCarve is not a traditional modeling program like Fusion, Rhino, or Blender — it is a CAM (Computer Aided Manufacturing) software.

The first step is to configure the exact dimensions of the material & set the 0 point of the CNC.

Once the workspace is set up, you can import the STL file & adjust its position relative to the material.

Set the bit diameter (6.35 mm), precision, & feed speed (80%), & use the step-by-step toolpath preview to simulate the milling result.

It is recommended to divide the milling project into 2 operations:

  1. Roughing Toolpath — faster & deeper pass, removes the bulk material.
  2. Finishing Toolpath — refines the surface and details.

The 2 milling toolpaths can be exported as separate files (if a smaller bit is used for the finishing pass) or combined into a single .nc file (if the same bit is used for both operations).

For CNC we worked with an ASIA Robotica CNC machine. I secured the large 18 mm MDF plate & set the home / zero point using the remote control, adjusting X, Y & Z.

After that, the milling process could begin.

During my milling process, a complication occurred: after the roughing toolpath was completed, the program stopped.

When I attempted to start the Finishing Toolpath, the home/zero position had shifted, & the router began cutting in the middle of the job.

Fortunately, we solved the issue quickly. We stopped the process & saved the Finishing Toolpath separately again in VCarve. Since both toolpaths had already taken almost 8 hours of milling time, we decided to reduce the milling time as much as possible.

(For example, I removed the separation of the 8 parts from the toolpath.)

I later cut them manually using the vertical circular saw & the table saw.

Afterwards, I cut a few additional parts using the band saw.

Then I glue the individual parts together using wood glue & let them dry overnight

Surface Finishing

On the following day, I used a handheld Dremel with various attachments to refine the surface of the mold. I carefully removed the machining marks left by the CNC toolpath & smoothed the geometry to achieve a more even finish.

Surface Sealing

Because the surface was relatively rough & MDF is absorbent, I sealed both mold halves with 2 layers of waterproof wood glue.

After the second layer of wood glue had dried, I sanded the surface again using very fine sandpaper.

Molding-Workflow

Step Description Materials / Software Parameters / Notes
1. Concept Selection Choose leather molding as final textile scaffold technique & define object type. Concept / sketches Goal: translate ear scans into a leather crossbody / clutch.
2. Base Geometry Use existing 3D scans of ears as starting geometry. 3D ear scans Previously used for earrings.
3. Scaling Scale the model to final object size. Rhino CAD Approx. 29 × 17 cm.
4. Undercut Removal Generate a smooth surface without undercuts. Rhino CAD – Patch over Object Necessary for press-mold release.
5. Offset for Material Thickness Create second surface with material offset. Rhino CAD – Offset Surface Offset: 3 mm (leather thickness).
6. Mold Strategy Decide on a 2-part pressing mold (positive & negative). — Enables controlled leather forming.
7. Mold Height Adjustment Adjust model height to match MDF thickness. Rhino CAD Mold consists of 4 stacked plates per half.
8. Sectioning Split mold into 18 mm sections. Rhino CAD – Boolean Split Matches MDF sheet thickness.
9. Layout for Milling Arrange sections side by side with tool clearance. Rhino CAD 6.35 mm spacing (bit diameter).
10. Milling Optimization Add outer boundary & tabs/bridges. Rhino CAD Reduces free-cutting time; prevents part movement.
11. CAM Setup Import STL & prepare toolpaths. VCarve (Vectric) CAM software (not modeling).
12. Toolpath Settings Define tool, feed rate, & simulation. VCarve Bit: 6.35 mm, Feed speed: 80%.
13. Roughing Toolpath Generate roughing pass to remove bulk material. VCarve Faster, deeper cuts.
14. Finishing Toolpath Generate finishing pass for details. VCarve Slower, higher precision.
15. CNC Setup Secure MDF plate & set zero point. ASIA Robotica CNC Set X, Y, Z manually via remote.
16. CNC Milling Execute milling process. CNC machine Total milling time ~8 hours.
17. Error Handling Resolve toolpath interruption & shifted zero point. VCarve / CNC Finishing toolpath re-exported separately.
18. Manual Separation Cut mold parts manually after milling. Vertical circular saw, table saw Milling separation removed to save time.
19. Additional Cuts Refine parts as needed. Band saw Clean edges & details.
20. Assembly Glue stacked MDF parts together. Wood glue Dry overnight.
21. Surface Finishing Smooth mold surface & remove CNC marks. Dremel + attachments Improves leather surface quality.
22. Surface Sealing Seal mold to reduce absorbency. Waterproof wood glue Apply 2 layers.
23. Final Sanding Light sanding after sealing. Fine sandpaper Ensures smooth, closed surface.

Then I cut the leather & soaked it in lukewarm water for about 15 minutes.

Afterwards, I wrung the Leather out, dried it, stretched it over the positive mold, & shaped it by hand.

I decided to use the suede side of the leather facing outward because I prefer the color.

( This may have a disadvantage: the wood glue I plan to use later to stiffen the leather form might not adhere well to the inner surface, which is smooth.)

Next, I pressed the negative mold over it step by step, trying to minimize wrinkles at the edges by pulling the leather.

Finally, I clamped the wet leather between the 2 molds using 4 screw clamps.

Leather Molding – Work Steps

Step Description Materials / Tools Notes / Considerations
1 Cut the leather to the required shape & size. Leather, cutting knife / scissors Allow extra material around the edges for stretching & clamping.
2 Soak the leather in lukewarm water for approx. 15 minutes. Water container, lukewarm water Softens the leather fibers & makes the material moldable.
3 Wring out excess water & pre-dry the leather. Hands, cloth / towel Leather should be damp but not dripping wet.
4 Stretch the damp leather over the positive mold & shape it by hand. Positive MDF mold Form details carefully while the leather is still flexible.
5 Orient the suede side facing outward for aesthetic reasons. — Note: Smooth inner side may reduce adhesion of later stiffening layers (e.g. wood glue).
6 Press the negative mold onto the leather step by step. Negative MDF mold Pull & adjust the leather to minimize wrinkles, especially at the edges.
7 Clamp the leather firmly between both mold halves. 4 screw clamps Ensure even pressure distribution while the leather dries.
8 Allow the leather to dry completely inside the mold. — Full drying is essential to retain the final molded shape.