Prior to the next class, please submit a short text write up with accompanying drawing images and a video link to the XSEAD site as discussed on the Submissions page. Please be sure to create your project within the appropriate ‘pool’ as linked.
The following questions may not apply exactly to every project but are intended as a guide to our expectations for the detail of the project writeup. Please answer every question relevant to your specific project with text and graphics as appropriate.
Prior to the next class, please submit a short text write up with accompanying drawing images and a video link to the XSEAD site as discussed on the Submissions page. Please be sure to create your project within the appropriate ‘pool’ as linked.
The following questions may not apply exactly to every project but are intended as a guide to our expectations for the detail of the project writeup. Please answer every question relevant to your specific project with text and graphics as appropriate.
In this exercise students will create a digital drawing machine and project it onto a physical canvas to prompt a physical, hand drawn sketch. Students will create an algorithmically generated pattern and project it onto a 2’x2’ canvas, to prompt fellow classmates in free-hand sketching experiments. Patterns should be informed by fundamental compositional techniques (e.g. translations, reflections) and computational processes (e.g. agent based behavior, particle simulation, physics simulation, point attractors). Patterns should also be time-based exhibiting emergent behaviors, narrative arc, and/or rule based growth. Students should share their drawing prompt with at least two partners. Students may use their choice of drawing implement including pens, markers, brushes, etc.
In this exercise students will:
Artifacts:
Documentation (can include drawings, images, videos):
Prior to the next class, please submit a short text write up with accompanying drawing images and a video link to the XSEAD site as discussed on the Submissions page. Please be sure to add your project to the appropriate ‘pool’ as linked.
Help with Grasshopper: If you are just getting started it is worth skimming the manuals linked on the rhino resources page.
Download and help for “Agent” Plugin: Resources for Alex Fischer’s plugin. Download for grasshopper component, help files, and video tutorials.
]]>
There is no silver bullet for making a high fidelity copy of a physical object in a digital modeling environment. Most processes take careful planning, understanding of technological constraints, and significant post processing to achieve suitable results. The following discusses relevant considerations and workflows for reverse engineering using Rhino’s modeling environment.
Rhino is a native NURBS surface modeler. This means that Rhino can very efficiently handle complex, free-form surfaces and smooth curvature. The majority of Rhino’s tools are oriented toward surface manipulation. Although Rhino can accommodate solid modeling with polygon meshes, its toolset in this regard is limited. This is important to consider when reverse engineering or preparing a file for rapid prototyping since many scanning and printing workflows generate or require high density polygon meshes. Because of this distinction, a significant part of the workflow requires knowing when and how to translate between NURBS Surfaces and Polygon Meshes in Rhino.
There are three main approaches to reverse engineering using Rhino and the resources available in the IDeATe Lab.
I have uploaded a folder with example files that illustrates best practice and useful commands for reverse engineering using Rhino and 123D Catch.
123D Catch: A free app from Autodesk to create 3D scans using a camera.
Rhino Tools: A collection of resources related to reverse engineering in Rhino.
Rhino Reverse: A plugin for Rhino designed to aid Mesh to NURBS translation and handle high polygon count meshes.
]]>When: Wednesday, February 3rd from 1:30 – 4:30
Where: MMH 303
What: Intro to Firefly and in depth coverage of vision and Kinect components.
Bring: a laptop with Rhino and the latest version of Firefly installed.
]]>In teams of four students will create a high-fidelity, digital reconstruction of a found object (or fragment of an object). Object choice should be based upon observation of a compelling texture, geometry, or surface quality of the object. These observations should directly extend from the students’ previous observation and practice with hand-tools from Exercise One. Each team will then digitally transform (e.g. morph, tile, aggregate) their reconstructed object and rely on digital simulation of hand-tool paths and CNC produced patterns/templates to assist in producing a new physical artifact by hand.
Example 3D Scan of ornamental carved stone.
In this exercise students will:
For the in-class review, please be prepared to discuss your findings, including sample artifacts and documentation of the key translations in your team’s workflow.
Artifacts:
Documentation (can include drawings, images, videos):
Prior to the next class, please submit a short text write up with accompanying drawing images and a video link to the XSEAD site as discussed on the Submissions page. Please be sure to add your project to the appropriate ‘pool’ as linked.
123D Catch: A free app from Autodesk to create 3D scans using a camera.
Rhino Tools: A collection of resources related to reverse engineering in Rhino.
Rhino Reverse: A plugin for Rhino designed to aid Mesh to NURBS translation and handle high polygon count meshes.
Intro video 123D Catch, Autodesk
]]>
In teams of three, students will fabricate four table-top frames to mount electronic peripherals (e.g. digital projector, Microsoft Kinect, and external monitor) for real-time sensing and visual feedback. Throughout the semester, these workstations will provide a physical context to explore the possibilities of augmenting physical dexterity with digital tools for novel hybrid design and fabrication approaches.
Example frame configuration with Kinect and Projector
In this exercise students will:
Schematic
See attached Rhino model for frame assembly and peripheral specs. (3D Model)
Specs
Projector: BenQMX620ST
Kinect: V2 for Windows
AR Sandbox by Oliver Kreylos, UC Davis
]]>
The Blackboard area for the course should now be available, please let me know if there are any problems. We have uploaded one reading to the Blackboard files area: Pye_Nature+and+Art+of+Workmanship.pdf
Please come to class Thursday prepared for physical experimentation and documentation as per Exercise 1: http://courses.ideate.cmu.edu/physcomp/s15/16-455/exercise-one-tool-taxonomy/
Just to recap, this should include the following:
1. wear appropriate clothing
2. draw a few notebook diagrams as per exercise item 1.III (expected tool forces and trajectories)
3. find and understand some tool tutorials and expert references as per item 1.IV
4. prepare a simple work plan as per item 1.V
The plan for Thursday is Exercise 1, section 2: applying your tool to material to fabricate a simple form, reflecting on the physical and intuition processes, and documenting the process in video and sketches.
Please take a look through the syllabus sometime soon; it explains the course motivations in more detail and has a more detailed outline of the assignments: http://courses.ideate.cmu.edu/physcomp/s15/16-455/syllabus/
]]>In pairs, students will be assigned a hand-tool related to a historically significant craft in the domain of ceramics, metal-work, or wood-work. Students will investigate their tool through physical experimentation, direct observation, and background research to develop intuition about hand-craft’s complex interplay between physical dexterity, material affordance, and tool geometry. Work will be conducted in pairs with students taking turns actively practicing use of the tool and observing their partner through careful documentation.
In this exercise students will:
Questions
How has the tool historically been used? What materials it is used with? What types of artifacts has it helped produce? What other tools are often used with it? What is the proper grip(s) for the tool? What techniques are commonly used to control the tool? Has the tool been replaced in any way by industrial machinery? What trades / guilds use this tool? What geometries or patterns does the tool bias?
For the in-class review, please be prepared to discuss your findings, including showing drawings and sample artifacts. Please refer to the prompt questions above for specific discussion points.
For the artifacts: a series of physical artifacts that evidence exploration of material and tool constraints. For the “final artifact”, something showing the development of technique where intention and result combine.
For documentation: evidence that you are developing techniques of observation and analysis. Examples: video, drawings, photos. The final diagram should be a visual explanation of the overlapping constraints of physical dexterity, tool, and material affordance. Please remember your initial sketch which documented your initial expectations. Please include at least one example of historical artifacts produced using the tool.
Prior to the next class, please submit a short text writeup with accompanying drawing images and a video link to the XSEAD site as discussed on the Submissions page. Please be sure to add your project to the appropriate ‘pool’ as linked.
General
The Nature and Art of Workmanship, David Pye (See Blackboard)
The Encyclopedia of Diderot & d’Alembert (University of Michigan Archives)
Metal
The Key to Metal Bumping, Frank T. Sargent (Course Reserve)
TM Tech Video Tutorials (YouTube)
Wood
Understanding Wood: A Craftsman’s Guide to Wood Technology, Bruce Hoadley
The Complete Manual of Woodworking, Albert Jackson and David Day (Course Reserve)
Ceramics / Plaster
Plastering Skills, F. Van Den Branden and Thomas L. Hartsell (Course Reserve)
Ceramics Handbooks Series, UPenn Press
A Spring 2015 undergraduate course at Carnegie Mellon University.
Tue/Thu 10:00AM-11:20AM, Hunt A10
Human dexterous skill embodies a wealth of physical understanding which complements computer-based design and machine fabrication. This project-oriented course explores the duality between hand and machine through the practical development of innovative design and fabrication systems. These systems fluidly combine the expressivity and intuition of physical tools with the scalability and precision of the digital realm. Students will develop novel hybrid design and production workflows combining analog and digital processes to support the design and fabrication of their chosen projects. Specific skills covered include 3D scanning, 3D modeling (CAD), 3D printing (additive manufacturing), computer based sensing, and human-robot interaction design. Areas of interest include architecture, art, and product design.
This course is part of the new Integrative Design, Arts, and Technology (IDeATe) program at Carnegie Mellon University and makes use of the new IDEATE@Hunt Collaborative Making Facility in the lower level of Hunt Library. The course is a new elective offered under the Intelligent Environments and Physical Computing concentrations. The prerequisite is one of the appropriate IDeATe portal courses or instructor permission.