I’ve been playing with origami, lately. Specifically, I’ve been exploring how to simulate, model, and fold origami shapes in ways that could be automated to create useful mechanisms. The system I’ve come up with is designed to fold rip-stop nylon, which I’ve worked with a bit during my time at Makani Power and research at Super-Releaser.
After some experiments with programs designed specifically for generating origami patterns, I found I wasn’t able replicate the patterns I’d prototyped in paper. Since I wanted to start out with a paper prototype, do some bench tests, and move to CAD from there, I needed to consider other options. I also wasn’t able to convert the output into a format that would play with CAD for printing and prototyping the resulting forms. So, I fell back on my old standard: SolidWorks. If you’ve worked with me before or you’re a regular reader, you don’t get any bonus points for guessing I’d find a way to turn this into a SolidWorks project. This video was very helpful for understanding how to think about origami in a SW context.
After testing the Flat-Pack Camera Arm I built, I was pretty happy with the results. Happy, except for one detail: the joint at the base of the arm would creep down over time. This wasn’t a problem while taking shots of projects at the bench, given how often I’d have to reposition it anywhere. The big breakdown was trying to capture time lapses. The creep was just too noticeable, and it would never stay in place long enough to keep the action of a day’s hacking in frame.
So, I set out to make some locking plates for the arm, and I think people could find some interesting uses for the process I came up with. The broad strokes of the method are that you design the part you’d like at the end in CAD, design a floor under your part with walls around it (I call this a bathtub), print the bathtub mold you designed, cast the mold using 2-part silicone (making sure it’s nice and level), and cast your final material into that mold. Once you’ve got the knack of replicating parts using 1-part molds, you can get fancier: adding vent holes for letting air escape or labels for your parts or building multiple parts for your molds for even more precise geometry.
Below you can find more information on the whole project:
I’ve been wanting an extra set of hands to hold a camera while I document projects for a long time. Kari and I are writing a book for MAKE all about soft robotics, and I figure there’s probably not going to be a better time to have a serious documentation setup than when someone’s paying me to do a good job at it. Since NYC Resistor just got a ShopBot and I’ve been meaning to get back into plywood fab for years, it seemed like a pretty auspicious syzygy. If you’d like to replicate this design for yourself, you can find the source files and project notes here. You can also see my photos from the cutting and assembly of the project here. Continue reading
I have lots of updates to share. I recently got a laser, made a new series of Guy Fawkes bandanas in bright, beautiful color, and spoke at HOPE. Unfortunately I’m being pulled in a thousand different directions by projects, interesting potential new work, consulting gigs, and new adventures with Sleek and Destroy.
Stay tuned for those updates. In the meantime, take a look of this time lapse I took of a day packing orders, cutting new jewelry, and folding bandanas right after the fold. Continue reading
Early on in my days as a maker, I really struggled with documenting and publishing projects. Almost everything I make starts life as something I wanted to build, something I wanted the experience of playing with. Most often I build because building things is gratifying in and of itself, and the other aspects (recognition, money, internet fame) are ancillary. However, only ever being beholden to myself made for some pretty shoddy documentation. I have few if any photographs of my projects from college and my record of things before that is more or less nonexistent. Over time I’ve discovered that a huge motivating factor for me getting things well documented, taking time out to photograph a project in progress, and updating my records, is having other eyes on me. Having other people witness my work validates it, gives it context, and creates a network of fascinating relationships and interactions that help fuel the next piece.
I don’t think I need to emphasize how important documentation is. Objects have a nasty habit of being pretty solid and aren’t often seen hurtling through cables at the speed of information. I know, Thingiverse is neat, but if you truly want to convey the awesomeness of something to another human, it’s infinitely more likely that they’ll extrapolate the fact from a picture than take the time to print and assemble your design. So, if you want the world to feel the impact of your handmade steam powered arduino based self balancing stainless steel unicycle junkbot, you’re going to have to show them… by force if necessary. Continue reading
I sit here, one of three folks all crammed on a futon, laptops steadily warming our laps, headphones plugged in, all persistently writing. To my right is designer, business owner, and furiously talented metal fabricator Danielle Hills. To my left is arch art director and wig stylist supreme Numidas Prasarn. The three of us collaborated to bring you these photos from Danielle’s most recent show, in which she exposed her brand new fashion line (The Executioner) to the world for the very first time.
You may recognize Danielle’s work from her previous collection, The Surgeon. She brings a unique, organic texture to her objects, while maintaining fairly simple geometries. The closest comparison I can think of offhand is Nervous System, but seen from a handcrafting perspective. You can view the whole series of shots I took of the event over on Flickr. There’s also some more coverage of the night here and here. Continue reading