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Digital bodies

Inspirations

inspiration board for digital bodies week

Concept + Development

When presented with the title of ‘digital bodies’ I was instantly struck by the idea of what it means to have a body, digitally. This is a question I think about often. As someone with a public online presence, my image, work and body are reproduced and scrutinised online. Growing up in the early 2000s, I grew alongside the mainstreaming of technologies and social medias. I have been on Instagram since I was 13, and there have been many different phases and personalities. Currently my relationship to social media is quite complex. I think often about the image I have built online, which has led to a lot of parasocial behaviours, misconceptions and ideation beyond my control. It has left me cautious to show my face or personality online, and instead to create a safe, distant image to market.

This is the inspiration for my project this week, as I want to focus on the social media ‘persona’ as my digital body. I feel my experience is mirrored for many artists on Instagram, especially those who rely on it for income. I feel lucky to not be in this position and have the option of anonymity, but many - especially women - feel pressured to fall into an influencer/personal role to keep their career. As the owner of a female body, I hoped to create a small figurine of my perception of a female creator's digital body.

Anti-surviellence Make-up

two models wearing cv dazzle anti surviellance makeup by inventor Adam Harvey

CV Dazzle Looks N°6, N°7. Developed for Designs for a Different Future 2020 to break convolutional neural network face recognition. © Adam Harvey 2020.

Amanda Dave of Dazzle Club. Photograph: Cocoa Laney/The Observer

Design student Jing-cai Liu has created a wearable face projector to counter surveillance cameras. Photograph: Jing-cai Liu

“Giving too much power to the police or any security agency provides the conditions for authoritarian abuse.” - Adam Harvey1

When explaining my concept to Asli at Waag, she suggested anti-surveillance makeup as a tool for decoration, as I was not so pleased with the idea of a simple cardboard model. I found this a great suggestion as it is a topic I’d been interested in, but had not yet had time to research. I learnt about ‘CV Dazzle’ invented by Adam Harvey in 2010, and wanted to create a similar bold look on the already distorted face of my model. A Key principle of CV Dazzle is its bright and bold look, “designed to break machine vision systems while still remaining perceptible to human observers.” 2

I find anti-surveillance makeup relevant to my concept as social media is another tool for surveillance and data-farming, one which we voluntarily feed with our most personal details. As the project focuses on the personal and the digital body, makeup seemed like a fitting addition to the defiance of this objectified body. 3

Tools

A list of helpful links I used this week to complete my assignments: 

- [TinyPNG](https://tinypng.com/)
- [3d scan with Skanect](https://skanect.structure.io)
- [3d Model with MakeHuman](http://www.makehumancommunity.org/content/downloads.html)
    - [Blender Shortcuts](https://hollisbrown.github.io/blendershortcuts/)
- [KIRI Engine](https://www.kiriengine.app/)
- [Tripo3D](https://studio.tripo3d.ai/workspace?category=featured&model_type=all&page_type=1.2&recommended=recommended&use_case=all)
- [Miro Board from Asli](https://miro.com/app/board/uXjVHjcEMeE=/?share_link_id=97120669420)
- [Find AI apps](huggingface.com)
- [Light Burn Documentation](https://docs.lightburnsoftware.com/legacy/BeginnerUITour)

Process and workflow

I decided to try KIRI Engine first as my research suggested it would offer the best files for exporting and was mostly free. I used the apps photoscan method, which uses photogrammetry. I wanted to stage a provocative pose and took 22 self portraits to upload for my tests. Distortions, provocation and facelessness were all elements I aimed for, so I was slightly lazy with the accuracy of my photography to allow for imperfections, because there were the elements that would make my concept stronger.

a screenshot of a 3D mesh in blender of a female body with her hands on her chest Detail screenshot from my final model in Blender. Created by gh0re.grl 2026

Step 1: Creating a 3D scan

I removed the background of my images on Canva and attempted 3 scans, but all came out deeply distorted. I quite enjoy them as experiments, but none were suitable for this weeks assignment. I think I need to attempt again with a higher photo count, or use the apps live scan feature instead of pre-made photos for a more accurate result.

Screenshot from failed body scans using KIRI Engine, Gh0re.grl, 2026

Step 2: Gemini and Tripo3D

Instead I fed my images into Gemini, and fed it prompts to help with image generation. I first asked it to change my textures to make me more metallic like a robot, and to distort my limbs.

Generated illustration of girl in underwear as a metalic robot

Image generated by Google Gemini using my photographs, gh0re.grl 2026

This was markedly different from my original imaginings so I asked it to keep the skin colouring whilst preserving the robotic details, and to distort my face like melting candle wax. This generated an image I really liked, as it highlighted both the digital aspect and the distortion in my concept. Generated illustration of girl in underwear as a humanoid robot with a melting face

Image generated by Google Gemini using my photographs, gh0re.grl 2026

I then converted it into a Tripo3D file to create a 3D model from my 2D generated image. 

Things to remember when generating in Tripo3D:             Triangle mesh /AI model: H2. 5 - legacy / STL file = exports geometry / OBJ file = exports geometry and texture (material)

I experimented with different textures and some generative edits to find a model I liked. I then exported into blender and further edited the model using the sculpt tool to create more distortion. I created a very detailed version but then simplified as I realised the models we were creating this week would not be able to retain great detail

experimenting with form in Tripo3D, Gh0re.grl 2026

experimenting with texture in Tripo 3D, Gh0re.grl 2026

Generated illustration from tripo3d of girl in underwear with facial distortion
Final model after texture and generative AI experiments in Tripo3D, Gh0re.grl, 2026

To create this final model, I uploaded the orginal image from Gemini as the 'texture' which brought back the human and rebotic details. I then fed Tripo3d's 'magic brush' 'gen mode' the prompt: "Keep human skin tone and details. Keep pose the same. Change face, maximise distortion and melt."

Step 3: Preparing file for Slicer in Blender

Step 1: Press ‘N’ key to open properties menu + set correct dimensions. Make sure the scale is locked so that they all adjust equally. Model needs to be in mm for slicer.

Step 2: Confirm the model is upright on a flat surface. Import into fusion on X axis to keep these settings.

Step 3: check model is watertight ie no holes - you can do so by selecting item and pressing ‘N’, going to 3D print tool box (an extension to install) clicking ‘clean up’ and then click ‘make manifold’ until the properties on the bottom tool bar all equal to 0.

Step 4: export as STL.

I also used Sculpt Mode in Blender to play with the distortions of my model. However for my final export I kept the modifications light to make sure the design was translateable using stacked cardboard slices.

3D model in blender workspace with very distorted face and sculpt mode menu open

Experimenting with Sculpt Mode in Blender, Gh0re.grl, 2026

Step 4: Preparation / Export in Slicer

* In fusion the manufacturing settings = the settings of the board itself, not the model. Can create custom settings for your project/material. 
* Everything needs to be done in MM - set uniform scale.
* 5mm margins.
* Slot 'offset' = at least 0.1 to allow margin for error
* Dowels = placeholder/stands for construction. 
* To export: get plans - DXF.
* Different colours in the plans represent different layers - cutting, engraving - to laser cutting software. 
* 'Construction Technique' = defines method of contstruction e.g 'stacked slices' or waffle etc.

My Blender STL had been exported with settings for a 50cm model, but I was told that there was a limitation on how much cardboard we could use for the project, so I adjusted the scale in Slicer to make a final model of 35cm.

screenshot of slicer desktop including stacked cardboard model of a female figure material settings screenshot from slicer Screenshots of Slicer desktop and material settings featuring gh0re.grl Digital Bodies project, 2026

Here you can see all my final settings in Slicer, and that I used three boards of cardboard for printing. Dowels were not a necessary element for my design, and the 'blue' highlighted parts on my model represent potential errors (which are centred around the smaller details in my design). If slicer identifies a serious issue with your design, The issue will appear in red and will be explained in the 'model errors' tab.

Assembly video from Slicer: Step by step assembly instructions, gh0re.grl, 2026

Step 5: Laser Cutting with LightBurn

When I arrived in Lisbon I learnt how to use LightBurn, which is the software they are using for their laser cutting machine. The screen space defines the cutting area of the machine, and has a display to the right where you can see your project details displayed. You can make basic edits on top of the file in the software. (e.g deleting boarders or joining selected shapes).

lightburn workspace labelled LightBurn Workspace labelled. Image from: LightBurn Documentation: UI Tour

Cuts and layers = your project Library = where you can define your material and action Line = a usual cut around shape Line + fill = for engraving (when selecting properties for engraving, bidirectional is faster but single direction can create more fine details) Pencil tool = draw Shift = makes it on a 45 degree angle Speed + power = automatic material standard, but can be adjusted after material check Job Origin = Start point of laser (best in upper left corner)

Output = send to machine or not Show = show on drawing or not Air = air on cut or not (usually yes unless material is very fine)

PREPARING MY FILE:

Before sending the file to the machine I must:

  1. Select all items and ‘ungroup’ them, allowing me to delete the border of the board.
  2. Reorder files so engraving goes before lines.
  3. Select material from library: materials will come with premade settings which you can later adjust. Speed is measured in MM per second, and power is measured in %.
  4. Number of passes set to: 2
  5. Press ‘send’ to laser cutter and name file

WHEN CUTTING:

Menu on laser cutter machine

Control menu on lasercutter at Biolab Lisboa. Documented by gh0re.grl, 2026

  1. Select file on menu and load board
  2. Set the origin point manually with keypad: slightly off board when doing full cut, slightly in for a project with margins.
  3. Confirm there is a 12mm distance from laser to material. Adjust using keypad. At Biolab Lisboa there is a 12mm measuring stick.
  4. When happy with start point, click ‘origin’ to confirm and then press ‘frame’ to trace outline - check all looks correct / within lines.
  5. Start extraction machine to help remove smoke from chamber.
  6. Close lid, press start!

In this process we tried 3 different settings and had three different results! For my first board, the settings were:

Line: speed: 15mm / power: 65% Engraving: speed: 24mm / power: 40%

laser cut cardboard pictured in machine

Laser cut cardboard in laser cutter, with small pieces missing because of the air. Documented by gh0re.grl, 2026

We stopped swiftly and decreased the speed by 15% (to 19). This worked, but unfortunately in the process blew away the small pieces of my board. For my second, we kept the settings the same but turned off the air. This caused the board to burn.

cardboard burnt in lasercutter Burnt cardboard documentation by gh0re.grl 2026

Our final settings seemed the perfect mix: and was the only board without fault. From these experiments I was faced with the importance of material testing, and will next time think about the size of my pieces more carefully when cutting.

FINAL PROJECT SETTINGS:

**Line:** *speed:* 15mm / *power:* 80% /  **Engraving:** *speed:* 45mm / *power:* 80%

5. Results

stacked cardboard sculpture of female form

Stacked cardboard sculpture without paint: assembled and documented by ghore.grl, 2026.

Assembling the model was pretty straightforward when following the assemby video. I ran into one hinderance when assembling. For the first steps I didn't realise the numbers had to be facing the same way throughout the design. On the lower, more uniform pieces, I accidently stacked a few the wrong way round leaving a slightly misshapen butt. Due to my small parts blowing away she lacked her original dribbles, but I compensated with the CV Dazzle.

TIPS: 1. Follow assembly video step by step. It highlights piece by piece on the sheets to right. 2. Make sure all numbers face the same direction throughout the build. 3. Look for small indent markings on board. They often give indicators on how to allign the next piece.

stacked cardboard sculpture of female form

Stacked cardboard sculpture with paint: assembled and documented by ghore.grl, 2026.

In the painting process I gave her some black makeup inspired by CV Dazzle. I distorted the mouth and eye area with bold gestures, an ode to the concept of visible and invisible championed by this style.

3D Models

Mobile 3D Scan Test

Final 3D Model

7. Fabrication files & References

  1. Reference: James Tapper; Hiding in plain sight: activists don camouflage to beat Met surveillance; The Gaurdian; 2020 ↩

  2. Reference: Laura Pitcher; Can anti-face make-up help you evade AI surveillance?; Dazed Digital; 2025 ↩

  3. Reference: James Tapper; Hiding in plain sight: activists don camouflage to beat Met surveillance; The Gaurdian; 2020 ↩

  4. File: Slice Working File ↩

  5. File: Laser Cut Sheets ↩