My Digital Making Journey- Original Tutorials and Reflection: Final Summary and Thoughts

My Digital Making Journey has been an experience that i honestly never thought that i would get so much out of. In terms of invaluable experience and practically based skills.

I am extremely satisfied with the results of my hard work and perseverance. From the position i found myself in in the earlier stages and the frustration i had with the Autodesk applications, i never thought i would get to the point were i am at the moment. I can honestly say that i am pleased with the results that have come about through this course and have learnt so much more than expected, skills that i am positive that i will be able to apply to many other areas of my life.

Knowing the skill that goes into all the facets of this process, i now have a much stronger understanding and admiration for the men and women involved within these sorts of industries.

I will definitely be recommending this subject to anyone  who will listen within the UNSW Built environment

My Digital Making Journey- Original Tutorials and Reflection: Reflection: Interdisciplinary Skin: Final Thoughts

For myself this project was completely different from my last, it didn't involve as much problem solving and failed attempts as the first but none the less it still took a bit elbow grease and perseverance. In the end I was reasonably happy with my result, although given more time i believe i could have achieved a more precise outcome for my interdisciplinary skin. The differences between the two objects that i have focused on throughout this subject are vast but in being so different they have been able to teach me varying sets of metalworking techniques that i would have otherwise not come across, had i attempted to do something much similar to my first project.

I now see the value in choosing another person’s work from different discipline for the second project within this course, it’s not the fact that you learn anything in particular about their industry but the fact that it teaches you other techniques within the metal shaping industry, having to attempt a completely alternate form from your own.

  

As with most things in life the more you do something the better you become at it. This is certainly the case for metalworking, the more you involve yourself in the process and information you can pick up from your own attempts and the more you listen and learn from the people around you both with experience and without it, the better you become at the process, and this is certainly reflected in not only the quality of your work but within the process you take along the journey to that final product.

The things i could have done better throughout this process were:

- Taking the time shape a solid model for the skin to be shaped on

- Persevering with the handle attached to the head, possibly thinking out the process a little more before getting into it

-  Not using a permanent marker to draw in lines on the outer surface

 

My Digital Making Journey- Original Tutorials and Reflection: Interdisciplinary Skin Part 2: Tutorial 1

 For this second project i had a much better understanding of the process that it takes to shape metal, i also had a precedence for this project to refer to. The preparation for this second attempt was a lot less than the first. I was basically able to get straight into the workshop and start testing and working on ideas for the form.

 For this project i set out to improve on the work of the previous student by adding a few extra elements mainly being a section for the handle. whether i would be able to complete this, is another question altogether. I think the best thing to do at this stage is to discuss your thought process with either your tutors or the workshop staff, they more often than not can offer a more experience perspective on the subject, which i found extremely beneficial.

Step 1: Measuring up the required shape and marking it with a marker. it is better to over compensate than to guess wrong. you can always cut more off later

Step 2: Cutout the shape using either the guillotine or snips. I found the snips easier to maneuver and you can be more accurate with them.

I started the process by  tracing the shape of my item  on my piece of metal, making sure that i left a  fair bit of extra around the edges to allow the sheet to cure up the edges of the mallet and for both stretching and shrinking when working the metal later on. Once i had the outline completed i used this machine to cut my shape out.

Step 3: In the same way that i used my solid model in the first project, i was able to use an actual plastic mallet from the workshop to begin the shaping of the mold. Although it was not a easy as i had envisioned, It did allow me to start forming the rough shape for the skin.

Once i had cut out my shape and smoothed up the edges i placed it over an actual plastic mallet (similar to the one the original model was based off) and began lightly working the metal into the shape of the mallet. I did this to try and get a feel for both the metal and the shape

Step 4: As i had suspected the concept of shaping this piece around the plastic mallet wasn't an ideal way to go about it, as it caused a number of issues relating to the overall metals appearance, and shape as well as the form of the plastic mallet being undesirable in terms of a sturdy item to work on. After consulting with Russell i began working on the tree stump and creating the desired curves in the metal by beating the inside of the skin along a central spine, allowing the shape to gradually stretch the way i needed it to.

Step 5: I then used the handle of a wooden hammer to create a small arc in the handle area of my skin and allow the shape to sit closer to the model, this way i could start to get a better idea of the form of my skin in relation to the mallet model. This task was different to my last as i had to keep referring back to the shape of my skin in relation to the model, rather than just shaping it around the model itself. In that respect it was a much slower process

Step 6: Began working on trying to get more curve in the edges of the skin by placing the skin over the edge of a wooden plinth and systematically working the metal towards the edges using the angle side of a flat rubber mallet. by using this technique i was able to create a wave in the metal and gradually pushed the wave to the edge of the metal before flattening the crinkle out of it., similar to the techniques i used when shaping my pot base in the first project.

This image clearly demonstrates the wave in the metal

Step 7: By this stage of the project i was beginning to realize that as i had originally suspected the changeover point between the handle and the head of the skin was proving to be a problem area, cracks and places with thinning were beginning to show, at this stage i decided to go through a different process and cut off the handle. Although this isn't originally what i wanted to do, i believed it would help my produce the best skin i could for this object in the end. 

Mark out where on the piece that you need to cut and then use snips to complete the task.

I also marked and cut the edge of my skin to try and even out the shape , as i had been stretching and working the skin it had begun to form a slightly irregular wrap around the model. i cut the edges to try and compensate this issues whilst having away with the  handle section, i intend to cut out out a section later on for an separate handle segment for the skin.

 

Step 8: Position the metal skin in the exact location you wan tit to sit when it is completed, measure up the diameter of the handle and mark out half of that in the location you will make a cutout.

Step 9: Using snips, cutout where you have marked. To refine the edges and get into tighter spaces, you can use the nibbler as shown below.

Step 10:  File the edges where cutting has been done. this will smooth it out and contribute to an overall better quality finish.

Step 11: Use the metal ball (about the size of a tow ball) to work the metal into the desire curves. this process is slow and will take many attempts. do not attempt to do a lot a once.

I switched between this process and using the stump as well as the wave technique demonstrated earlier to achieve the desired shape for the skin

Step 12: By this stage my skin was fitting reasonably well over the laser cut model. The next step was to run it through the English wheel and smooth out the surface for a nicer finish. As shown in the image below

Step 13: Give the edges a quick trim and file to try and achieve the most aesthetic skin surface possible. Make sure you get inside the handle cutout.

By this stage the skin for the head of the mallet is complete. The following images will demonstrate the stage that you should be up to

 

Step 14: Constructing the Handle: The following image demonstrates the cutout for the handle. this image was from much earlier on in the process. from this image the cutout needs to be trimmed even further to allow the handle section to slide underneath it. Measure the width of the handle metal and use the nibbler to add width to the cutout. this stage can be done now through measuring or later on using the handle to trace it out.

Step 15:  Luckily for this stage i only required a small piece of material and i was able to find a small cut off from someones project. It had been worked slightly with a hammer and had bumps all over it. I straightened it out as best as i could then ran it through the English wheel to smooth it out.

 

Step 16: The next stage i used a metal rod roughly the same diameter as the handle and and began working the metal around it (as shown below)

Step 17: Once i had a rough idea of the amount of material i needed to wrap it around i measured up and trimmed the edges using the snips

 

Step 18: Due to the  handle section being quite a simple project the surface didn't requires as much effort to achieve the required finish. The only step left to do was to ensure the handle fitted perfectly within the cutout. The nibblers can be used to trim small increments out for this process, and then the file can be used to smooth the edges off.

MY FINAL RESULT

The image above is the final combined result of the head skin and the handle skin as one complete Mallet skin.

My Digital Making Journey- Original Tutorials and Reflection: Reflection: Interdisciplinary Skin Part 1: Reflection

For my Interdisciplinary skin i chose to do a plastic mallet which is part of the construction management discipline. The mallet form and shape is quite different from that of my first project item, 

After analyzing the work of the previous student for this particular shape i wanted to try and challenge myself by adding a few extra elements to the skin and also attempting to create a closer fit for the mallet as i believed the shape could be improved upon. Although this form may not be as technically difficult as my first project i believe it will present its own individual challenges, especially when it comes to the changes in curvature from the head shape to the handle form.

In knowing how much i actually learnt from the process involved in the first project, i knew that even though this object was a much simpler form that i would be able to learn a lot of things from this process regardless. this is what dove me to apply myself for this assignment.

A suggestion for this assignment would be to thoroughly investigate the work of the student in which you swapped with and review the techniques and strategies that they used. Take the time to talk to them about the issues that they faced and possibly look a new ways at improving upon that. this can only have positive results for your own project.

The following images are examples of the plastic mallet in which the model was based off:
Interdisciplinary found object:
  

My Digital Making Journey- Original Tutorials and Reflection: Reflection: My Final Buxus Topiary Skin

My overall experience with this project was one of mixed emotions. It took me a while to get traction but once i did, i felt like my result was satisfying.

This process has taught me a lot of skills that i otherwise would not have been aware of, skills that i have already and will apply in the future.

although not perfect, I was extremely happy with the final result for my Buxus Topiary laser cut model and metal skin.

The images below demonstrates my final product.

Does the found object reflect Landscape architecture?

The found object is a potted Busux topiary which is a commonly used form of planting throughout both the landscape design and landscape architectural industries.

Has an accurate 3D model been created?  the model was created through 123D catch, 123D Make and Meshmixer and then printed using the UNSW FAblab laser cutters. for a model as complex as it is, it is an accurate representation of what a Buxus Topiaries form would look like

Has the the template been designed, cut, and

assembled with care and precision? Yes the process of cutting and assembling the model took several hours of detailed and precise gluing

Is the Scale appropriate? The scale of the model buxus is slightly smaller than the typical buxus used within landscape, although they can be pruned to be at the same scale. The scale of this model is appropriate for this modeling and metal working process

 Does the skin adhere closely to the contours of the template and is the skin beautiful? I believe the metal skin that i have produced for this model adheres extremely closely to the contours of the existing model, considering the complexity of the models shape and form and my lack of experience, I am extremely pleased with the final outcome, knowing how much time, preparation and effort i have put into this process over the past few weeks. As far as the skins surface goes, it has a skin only a mother could love.

My Digital Making Journey- Original Tutorials and Reflection: Tutorial 4: Metal Skin

This is the main stage of this entire process, every stage before this one has been preparation for the metal skin. If all the steps have been followed up until this point then you should be ready produce and accurate and aesthetically pleasing skin for you model.

Step 1: Accurately measure up enough metal to cover one side of the pot face, and so they wrap around until they meet on the opposing side. Ensure that you leave extra length above and below the pot to allow for stretching and contracting within the curves and ridges that will be put into the skin

Step 2: Cut it out, preferably using snips

Step 3:  Run your metal through the machine below and create a curve in the sheet to a position were it holds itself around the solid timber mold. The key with this machine is to curve the metal gradually.

Adjust the severity of the curve by spinning the handles in an anti-clockwise direction or visa versa for up or down.

Step 4: Once you have obtain a accurate curve in your metal place it around you mold, and using a marker, indicate were the key points are located on the metal. this will help guide your mallet when striking the metal

Step 5: Using a small faced hammer, work the beginnings of the pot ridge all the way around the skin. once you have a consistent groove around the surface, use metal wire to tie around the skin and tightly secure it, ensuring it wont slip. This will then allow you to work the other grooves without having to hold it in place by hand. Essentially the solid timber model allows you to work the shape into the skin my mending it around its surface.

 

Step 6: Continue working the around the form of the solid model

Step 7: Begin pushing the bottom section of the pot towards the base. This is most easily done by using small consistent strikes which creates a wave in the metal, slowly work the wave, pushing it off the edge of the base. As the metal compresses it will create crinkles at the base of the sheet. This process needs to be repeated  quite a lot until the metal begins to take the shape of the model.

Step 8: At this point the metal skin has reached its potential, as it has been molded into shape around the mold. The next stage is to detach it from the mold and begin minor adjustments from the inside of the skin (as shown below). This can be done to get greater definition in the ridges and curves.

Step 9: Using a marker on the inside of the skin, Draw a line along the edge of the base were the crinkles meet the edge of the pot skin.

Step 10: Using the snips, trim along this line, then file the edge creating a smooth surface. The image below demonstrates how it will look after these steps have been followed. At this stage the top ribbed section still needs some work but the overall form of the pot skin is taking shape.

Step 11: The next step i followed was to run the skin through the English wheel in an attempt to get rid of some of the surface blemishes. This process was reasonably effective in smoothing out the major irregularities in the skin. obviously the ribbed section could not be used within the wheel.

Step 12: The next step i took in this process was one of the final stages of my first skin. Obviously with the solid mold, It is not exactly the same shape as the laser cut model, There are some minor differences in the lower section of the base. To try an bring them closer in shape i put the metal skin over the laser cut model and began working it softly and slowly with a thin faced plastic mallet, pushing the waves towards the edges and then flattening the crinkles out on the edge.

Step 13: The final step for this process was to file the edges to smooth out any irregularities and get the edges as smooth as possible, I then ran a bit of steel wool over the surface to create a particular shine over the skin.

This process ran surprisingly smooth, but i mostly put that down to the amount of preparation i put into this stage. i felt like i had a good understanding of my object, the equipment and tools that i had to use. Without doubt the solid mold was the best decision i could have made for this particular project.

My Digital Making Journey- Original Tutorials and Reflection: Reflection: Tutorial 3: Shaping my Solid Object

The next stage for my journey was to create an identical object to that of my model, i would then use this as a solid base to work my metal around and form my skin. I did this by creating a solid timber replica on my wood lathe (spindle) at home.

Steps: (Do not attempt to lathe without supervision of an experienced operator)
1. Select a solid piece of timber with a diameter equal to or greater than that of the model
2. measure up the exact centre of the timber block on each end of the piece and mark it with pencil (this can be seen at the end of the timber piece in image 2)
3. Fasten the block into the lathe, ensuring it is secure
4. Adjust the compound rest bar into place
5. Ensure all the lathe blades are sharpened
6. Start the motor, once the timber has reached its optimum velocity, start gradually and work inward only chipping away with small increments at a time.
7. Work the shape, referring back to the model at regular intervals.
8. Take your time and be as precise as possible.

This is the first few moments as i worked on shaping the timber block into the pot shape. i did not shape it to the exact dimensions of the model, it was done roughly and by eye. my intentions were to only use this mold to get the rough shape for the skin.

This image shows the comparison between the Laser cut model and the solid timber model/towards the end of the process.

This image Demonstrates the final outcome of my wood lathe model in comparison with the laser cut model.

I was extremely happy with the results of my replica model. having a solid model would allow a greater accuracy when working my metal skin in the next stage.

I would definitely encourage undertaking this process as it made the following stages of the model making process a lot easier. Without this mold i'm not sure how i would have completed the skin to the standard i did. I would consider this process an integral part of the assignment.