2. Digital bodies¶

I. Inspiration Phase¶

At the beginning of this assignment, I was heading in a completely different direction from where my final work eventually unfolded. Instead of leaping straight to the outcome, I want to return to those first questions and fragmented thoughts.

“All things are subject to interpretation. Whichever interpretation prevails at a given time is a function of power and not truth.” — Friedrich Nietzsche

What is a body? Is it confined to the narrow lens of human perception, or does it exist in dimensions we cannot fully grasp?

As my reflections deepened, I began to see the body less as an isolated figure and more as a field of relationships. It could be human, animal, or even natural—always interconnected, always shifting. In this sense, a body becomes a landscape of meaning, a language, a constellation within a larger universe.

This perspective guided my approach to the digital process: scanning, fragmenting, slicing, and reassembling the body as an exploration of its possibilities. Capturing presence, Slicing as a meditation on fragmentation, and assembling as an attempt at redefinition.

Although the final outcome diverged from my initial intentions, the journey from abstract questioning to material experimentation shaped the essence of my project. It is less about arriving at a fixed answer and more about inhabiting the tension between the digital and the poetic, between what we perceive and what remains unseen.

I. Mood Boards¶

II. Ideation Phase¶

Concept: Resilience as an Embodied Narrative¶

As the concept evolved, I decided to ground it in the idea of the hybrid body, where human and nature merge into an intertwined ecology. From this perspective, I chose to focus on resilience as an embodied narrative, bringing together two enduring symbols of resilience: A Palestinian grandmother and the Olive tree.

The grandmother represents memory, wisdom, and continuity, her body carrying the weight of lived history and survival. The olive tree, deeply rooted in the land, embodies steadfastness, regeneration, and belonging; it persists through time only to grow again. Together, they embody the renowned saying: "باقون ما بقي الزعتر والزيتون" — “we will remain as long as the zaatar and the olive exist.”

For Palestinians, the olive tree is not only a source of sustenance but also a living symbol of resistance. Its branches, roots, and fruits have been woven into daily life, celebrated in poetry, and preserved in embroidery patterns on traditional garments, where motifs of the olive leaf and branch carry forward a story of endurance.

In this digital body experiment, I sought to merge these two figures—intertwining the steadfast figure of the grandmother with the textures and branching of the olive tree, creating a body of two elements that carry one narrative, a testimony of survival, resistance, and defiance against erasure.

III. Design Workflow¶

I. Sketching¶

I began translating my concept into form by sketching the imagined model on Procreate layering the figure of the grandmother with the branching textures of the olive tree, testing how the two could merge into one hybrid body.

II. MakeHuman 3D Model¶

I was interested to learn about new softwares and add-ons like MakeHuman and explore it, It has so many amazing features that enable you to develop human models with simple click. My initial plan was to create the “Grandma” character through this platform, but I encountered some complexities with the head model I generated. As a result, I decided to shift towards Blender and develop a simpler character there, allowing me more control and flexibility in shaping the figure.

III. 3D Scanning¶

3D scanning is a process that captures the shape and physical details of real-world objects using laser, structured light, or photogrammetry. It generates accurate digital models that can be used for design, analysis, reproduction, or visualization.

1. 3D Scanning in the Lab¶

The Lab 3D Scanners¶

We got introduced to two types of 3D scanners in the lab ; Sense 3D Scanner and Artec Space Spider, with the latter being a better option for experimentation due to it's high-resolution based on blue light technology.

3D Scanning Process with Artec Space Spider¶

3D Scanning Process with Artec Space Spider

Preparation Place the object on a stable, non-reflective surface with good lighting. Connect the Artec Space Spider to your computer and open Artec Studio software. Calibrate the scanner if required (especially after transport or temperature change).
Scanning Setup Create a new project in Artec Studio. Adjust scanning settings (e.g., resolution, texture capture if needed). Ensure the object fits within the scanner’s field of view.
Scanning the Object Hold the scanner approximately 20–30 cm from the object. Begin scanning while moving smoothly around the object, keeping a consistent distance and speed. Cover all sides and angles to avoid missing geometry. Pause and resume scanning if tracking is lost, then continue from the last aligned area.
Data Processing in Artec Studio Align Scans: Use “Auto-Align” to combine multiple scans into one dataset. Fusion: Run Sharp Fusion or Smooth Fusion to merge all aligned frames into a single, detailed mesh. Outlier Removal: Clean unwanted noise or floating fragments. Mesh Optimization: Fill holes, smooth surfaces, and simplify geometry if needed. Texture Mapping: Apply captured color data onto the final mesh for realistic visualization.
Exporting the Model Export the final mesh as .OBJ, .STL, or .PLY format depending on the application (3D printing, CAD, or visualization).

Note: You can find the scanned model file in Doaa's Documentation

2. 3D Scanning through KIRI Engine¶

After 3D scanning I got excited to scan the second part of my intended-to-be model ''The intersecting Olive Branch'' and merge later on Blender with the already modeled Grandma character. For this process I used KIRI Engine.

3D Scanning through KIRI Engine (Photogrammetry)

1. Preparation
Place the object in a well-lit environment with consistent, diffused lighting.
Ensure the background is neutral and the object has visible surface details (avoid glossy or transparent materials).

2. Capturing Images
Use your smartphone to take 30–70 overlapping photos around the object.
Move in circular paths (lower, middle, and upper angles) to cover all sides.
Keep the object centered and maintain sharp focus in each shot.

3. Uploading to KIRI Engine
Open the KIRI Engine app or web platform.
Upload all captured photos to start the photogrammetry reconstruction process.
Choose the preferred quality level (e.g., Standard or Ultra) and start processing.
The engine automatically aligns photos, generates a dense point cloud, and reconstructs a 3D mesh with texture.

4. Reviewing and Cleaning the Mesh
Once processed, review the model for accuracy.
Use KIRI’s built-in tools or external software (like Blender or MeshLab) to trim excess areas, fill holes, and smooth the surface.

5. Exporting the Model
Export the reconstructed mesh in OBJ.

Example:

IV. Back to Blender¶

After importing the scanned models of the grandma and the branch into Blender, both meshes were aligned and refined. Using the Boolean modifier, the two elements were unified into a single continuous geometry.

Importing and Editing the Mesh in Blender

1. Importing the Model
Open Blender → Delete default cube.
Go to File → Import → Wavefront (.obj).
Locate and select the exported OBJ file from KIRI.
Once imported, the 3D model will appear in the viewport.

2. Adjusting Scene and Scale
Switch to Object Mode and scale the model if needed (S key).
Rotate or reposition it (R and G keys) to center it in the scene.

3. Mesh Unification and Refining
Choose both meshes the grandma and the branch and unify them through the use of boolean.
Enter Edit Mode (Tab key) to refine geometry.
Use tools such as:
Select → Delete → Loose Geometry to remove floating points.
Mesh → Clean Up → Merge by Distance to weld overlapping vertices.
Sculpt Mode for smoothing or reshaping surfaces.
Knife Tool (K) or Boolean Modifier for precise cuts.
Optionally, use Remesh Modifier to simplify or equalize polygon density.

4. Exporting the Final Mesh
Once cleaned and edited, export via File → Export → STL (.stl)

V. Mesh Mixer¶

After importing the model into Fusion 360 slicer, I figured the branch mesh was still not watertight, so I edited the mesh to make it suitable for both the slicer and the 3D printer through the use Mesh Mixer.

IV. Fabrication Workflow¶

I. Laser Cutting¶

Laser Cutter (Trotec Speedy 400)¶

The Trotec Speedy 400 is a CO₂ laser cutter which uses a focused infrared laser beam generated from carbon dioxide gas to precisely cut, engrave, or etch materials such as wood, acrylic, leather, and fabric. It works by vaporizing or melting the material along the laser path, allowing for highly detailed and accurate fabrication.

Trotec Speedy 400-Key Hardware Components

 - Laser Tube & Power Supply
 The Speedy 400 houses a sealed CO₂ laser tube (typically 60 W–120 W) that generates the infrared laser beam. The power supply unit regulates energy to the tube, controlling laser intensity and stability.

 -Cooling System
 The machine integrates a water-based or air-assisted cooling system to maintain the laser tube temperature and prevent overheating during extended use.

 -Optical System (Mirrors & Lens)
 A system of mirrors directs the laser beam from the tube to the cutting head, where a focusing lens concentrates it onto the material. Clean and well-aligned optics are crucial for precise cutting and engraving.

 -Motion System (X, Y, Z Axes)
 The laser head moves along the X and Y axes via a high-precision gantry system, while the Z-axis allows the work table or head to adjust height for focusing.

 -Work Bed / Table
 The large working area (approximately 1016 × 610 mm) accommodates various materials. The table can be swapped between grid, vacuum, or ferromagnetic types depending on the process and material.

 -Air Assist & Exhaust System
 The air-assist nozzle directs compressed air onto the cutting area to cool the material and reduce charring. The exhaust system removes smoke and dust to protect optics and ensure clean edges.

 -Control Panel & Interfaces
 The built-in control panel allows users to adjust power, speed, and focus; start or pause jobs; and move the laser head manually. It connects to a computer via USB or Ethernet for sending designs.

 -Enclosure & Safety Interlocks
 The fully enclosed design ensures safe operation. Safety interlocks automatically disable the laser if the lid is opened during cutting or engraving.

Slicer for Fusion 360¶

A slicer program is needed to turn the model into 2D cuts that could be assembled to reform it.

The Laser Machine¶

Cutting¶

After obtaining the laser cutting file either (EPS, PDF or DXF), comes the part of defining it for the laser cutting machine and Turning the machine on.

Suitable Settings for MDF 2.5

 Engrave; Power:70 - Speed:40 - HZ:1000
 Cut; Power:90 - Speed:0.8 - HZ:1000

Assemblying¶

A beautiful mistake happened when I was assemblying the pieces together, which was me glueing to the opposite direction, however when I saw the final result I wasn't mad as the two models, the 3d printed and the laser cut became 2 mirrored complementary pieces together making an integral statement.

II. 3D Printing¶

Ultimaker S5 3D Printer¶

The Ultimaker S5 is a reliable and easy-to-use 3D printer designed for high-quality results. It has a large build area, dual extruders, and an intuitive touchscreen. We use Cura Ultimaker Slicer to slice the model prior to 3d printing.

Slicing in Cura Generic Process for (Ultimaker S5)

Open Stl. file with Ultimaker Cura.
Set Printer: Ultimaker S5.
Set Material: PLA
Make sure the model is placed flat on the build plate (Z = 0).
Adjust scale.
Adjust print settings:
Basic Settings Layer Height: 0.15 mm – balances fine detail and print time. Wall Thickness: 1.2 mm (≈3 lines). Top/Bottom Thickness: 0.8 mm. Infill Density: 15–20% (Gyroid or Cubic infill).
Supports Generate Support: ✅ Enabled. Support Placement: Touching Buildplate (if model has broad overhangs) or Everywhere (for complex internal geometry). Support Overhang Angle: 50°. Support Density: 12–15%. Support Pattern: Zigzag (easy to remove and stable). Support Interface: Enabled (gives cleaner undersides).
Adhesion Build Plate Adhesion Type: Brim (8 mm) — prevents edge lifting and warping. Z Hop When Retracted: ✅ Enabled — avoids hitting existing layers.
Temperature & Cooling Printing Temperature: 200 °C (PLA). Build Plate Temperature: 60 °C. Fan Speed: 100% after the first 3 layers for smooth surface finish.
Speed Print Speed: 45–55 mm/s. Wall Speed: 25 mm/s for improved accuracy. Initial Layer Speed: 10 mm/s to ensure good bed adhesion.
Retraction & Quality Retraction Distance: 6.5 mm (Bowden) or 1 mm (Direct Drive). Retraction Speed: 25 mm/s. Combing Mode: Within Infill. Enable Coasting: Optional — reduces stringing on curved surfaces.
Optional Post-Processing Support Interface Density: 100% for cleaner undersides. Ironing: Enable on top layers for smoother finish. Use Tree Supports (Experimental): Ideal for organic shapes — minimizes scarring and material use.
Click Slice and save the file.