updates midterm

docs/assignments/week03.md

@@ -197,12 +197,19 @@ Not entirely, because of the fact that I have 7 pieces. I cannot nest them seaml
 
 ## Assembling
 
+In the end I tinkered a lot with the modules to see how I could combine them to create various shapes. I made big sheets combining different modules, by going bigger or smaller per row to understand what kind of shapes it would create. I didn't quite realize how long it was going to take me to create a big surface, and I ran out of material so I settled on a garment I could make with the amount of modules I'd cut. I thought that the curvy shape it was making could work really nicely as a sort of necklace/choker/harness that follows the curves of my neck and shoulders.
+
+ISNERT IMAGE
+
 ## The not-so-ultimate ikea guide to DIY this
 
 ### Design files
-### How-to
 
-## Room for improvement?
+To make this piece you need to cut XXXXXXXX of modules XXXXXXX, or more/less depending on your size. I'm a size UK10, EUR38. 
+
+Find the .ai design files [here](../files/wk03_modules.ai). These were cut with the settings speed 150, power 25.
+
+### How-to
 
 ## Tutorial by Cecilia
 

docs/assignments/week06.md

@@ -750,6 +750,9 @@ There are so many out there. They are so interestinggggg.
 * Materfad Barcelona
 * Surfacematter London
 * Materio
+* Materiom
+* The Institute of Making
+* Mlab, Aarhuns
 * many many more, see slides. 
 
 These are not only about the materials but also about finishings!

docs/assignments/week07.md

@@ -5,7 +5,7 @@
 
 We built a prototype for a sheet casting tool to accommodate our needs and desires to produce large and evenly flat sheet materials made of bioplastics such as the gelatine and agar-based ones, and the alginate plastics we made last week. We tested the machine by casting a sheet with alginate plastic. So far, the machine functions and we made a lovely 2mm sheet with it (which shrank a bit)l but could be improved by finding a better solution for keep the walls together – the silicon glue didn’t hold. And also the wiper or squeegee could have a deeper wiping edge so the strips can act as walls. Excess liquid will creep up, and could be contained if the wiper sinks a little deeper by default. Anyway, details details. Here's our working prototype! 
 
-The machine might need some iterations but has potential to allow us to research shrinkage, cast the exact same kinds of sheets, comparing recipes etc etc. Even do small batches of production.
+The machine could benefit from further iterating but as is already has potential to allow us to research shrinkage, cast the exact same kinds of sheets, comparing recipes etc etc. Even do small batches of production of larger sheets (500x1000mm).
 
 
 <iframe width="560" height="315" src="https://www.youtube.com/embed/_On_QeLUTkM?controls=0" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
@@ -20,8 +20,6 @@ Mar: suggested to put a railing to keep the height precise. In the industry they
 
 Anastasia: suggested to also include more technical drawings, maybe imagining how this machine might work in industry (more automated). 
 
-Response: Yes! We're working on an IKEA-style construction manual based on our Rhino files. It's taking a little longer though.
-
 Question: How do you put calcium chloride below?
 
 Answer: We don't, it dries very nicely with a beautiful gloss. It takes a little longer to cure because it only cures from the top, but the results are much nicer. It shrinks more than when you cast on top of a fabric though, this is true. But dat shine doe!
@@ -52,7 +50,7 @@ But our main source of inspiration was actually the week where we worked with bi
 
 Consequently we did a solo brainstorm, writing down our ideas and desires on post-its, in whichever shaper or form they’d come. It was allowed to have more abstract or general desires/interests you wish to address with a machine, or they could already by concrete ideas for machines. We had a bit of everything, said them out loud, and stuck them on a big sheet. 
 
-![](https://class.textile-academy.org/2020/loes.bogers/images/wk07brainstorm.jpg)*Impression of all the ideas we cooked up in our brainstorm, Loes Bogers, 2019*
+![](../images/wk07brainstorm.jpg)*Impression of all the ideas we cooked up in our brainstorm, Loes Bogers, 2019*
 
 Then we did a dot vote: each person could give an idea one dot, one idea two dots, and one idea three dots. The ideas with a lot of votes were discussed more in detail, and we also assessed how realistic the idea was to do in a week, with the skills and knowledge we already have at the moment. Some ideas had been done before so they were also put aside for now. 
 
@@ -62,12 +60,9 @@ More than making the majority vote count, we decided we wanted to end on an idea
 
 Finding the elements of the machine through sketching. We started at the bottom and started constructing the machine in our imagination and on paper, thinking through all the problems we could foresee, and trying to draw out conclusions for each.
 
-![](https://class.textile-academy.org/2020/loes.bogers/images/wk07darwings.jpg)*Impression of the amount of sketching we did, 2019*
-
-They helped us to literally get on the same page. Just not Bea's if you have heavy handwriting (;-) love you girl, amazing tech drawings you do). As we went through all the different parts that needed to be designed and made and assembled, something of a task division also emerged. We needed a watertight box with an acrylic bottom and walls. It needs  an escape hatch to pour excess materials out of. We needed a squeegee or wiper to speed up the pouring process or for spreading thicker (slower) plastics such as the thick alginate recipes. But we also need a door to close the escape hatch in case we’re working with very liquid recipes. The walls need to be able to come out so you can fix a (textured) textile to the bottom and cast on top of that. We need 2D casting moulds to make nice textures, and maybe get some large pieces of textured fabrics that can cover the box. We asked Michelle to design something that allows us to also create rhythmic stamp patterns evenly. 
+![](../images/wk07darwings.jpg)*Impression of the amount of sketching we did, 2019*
 
-**Stamping module**
-[INSERT NOTES MICHELLE]
+They helped us to literally get on the same page. Just not Bea's if you have heavy handwriting (;-) love you girl, amazing tech drawings you do). As we went through all the different parts that needed to be designed and made and assembled, something of a task division also emerged. We needed a watertight box with an acrylic bottom and walls. It needs  an escape hatch to pour excess materials out of. We needed a squeegee or wiper to speed up the pouring process or for spreading thicker (slower) plastics such as the thick alginate recipes. But we also need a door to close the escape hatch in case we’re working with very liquid recipes. The walls need to be able to come out so you can fix a (textured) textile to the bottom and cast on top of that. We need 2D casting moulds to make nice textures, and maybe get some large pieces of textured fabrics that can cover the box. 
 
 We decided on a size of 500x1000mm casting area, and worked around that measure. We made a rough sketch to scale to see if we could cut all these parts out of the sheet materials we had available at the lab (acrylic sheets and triplex wood), this helped us make a shopping list, and off we went to the woodshop. 
 
@@ -75,7 +70,7 @@ We decided on a size of 500x1000mm casting area, and worked around that measure.
 
 Our local woodshop Houthandel Schmidt is located in Amsterdam’s red light district, so it’s always a lively walk going there. It’s been in business for 150 years already and is located at a beautiful old squeeky narrow building. We feel like craftwomen already.
 
-![](https://class.textile-academy.org/2020/loes.bogers/images/wk07woodshop.jpg)*Us shopping at Houthandel Schmidt: Tens tens tens across the board!*
+![](../images/wk07woodshop.jpg)*Us shopping at Houthandel Schmidt: Tens tens tens across the board!*
 
 The main thing we needed were metal rods to keep the wiper height strips stacked in place. We weren’t sure what to call them (in Dutch) though, and it continued to be a source of mixups and laughter. Luckily Cecilia already knew where to find these thingies in the shop so we could just point it out. But seriously though, is it a pipe, rod, a screw, a bolt or a metal stick? Maybe it doesn’t matter if you know where to get it. A conversation at the wood shop: 
 
@@ -123,7 +118,6 @@ Our names for stuff! Very important here. They might not be “correct”, they
 * Diameter symbol: ⌀
 * Industrial nailpolish a.k.a. Fastdrying acrylic glue that comes in a bottle with a brush.
 
-[]()*[INSERT] An overview of our tools and our lovely naming scheme, Paulina Martina, 2019*
 
 ##Inching in on sizes and settings
 
@@ -131,7 +125,7 @@ After all the rough sketching and measuring, Bea made beautiful softly drawn tec
 
 * Paulina did some tests to find the perfect width of the profile in the bottom layer to support acrylic walls. We thought we’d need to spread acrylic across the sides of the profile, but it wasn’t necessary. With Loes they found a manual way to make a snug fit to keep the walls standing upright. 
 
-![](https://class.textile-academy.org/2020/loes.bogers/images/wk07snug.jpg)*Manual precision technique to create a snug 4 mm profile to sink the walls into, by Paulina and Loes, 2019*
+![](../images/wk07snug.jpg)*Manual precision technique to create a snug 4 mm profile to sink the walls into, by Paulina and Loes, 2019*
 
 * Testing screw, I mean rod, I mean bolt holes (shaft diameter vs. screw wire diameter!) > 5.65 mm for 5.7 mm bolt diameter.
 * Finding settings to laser cut 4 mm acrylic. Finding the safe zone that works across the bed, testing with pieces big enough to let the laser catch up to the set speed (min 10 cm test pieces). Speed 18 power 100.
@@ -162,11 +156,11 @@ We brushed upon each others limits here and there. Emotions might have been expr
 
 Bea did a super job designing the cutsheets for our machine!
 
-![](https://class.textile-academy.org/2020/loes.bogers/images/wk07cutfile1.png)
+![](../images/wk07cutfile1.png)
 
-![](https://class.textile-academy.org/2020/loes.bogers/images/wk07cutfile2.png)
+![](../images/wk07cutfile2.png)
 
-![](https://class.textile-academy.org/2020/loes.bogers/images/wk07cutfile3.png)*Cutfiles for the Squeegee2000, Beatriz Sandini, 2019.*
+![](../images/wk07cutfile3.png)*Cutfiles for the Squeegee2000, Beatriz Sandini, 2019.*
 
 During the cutting process we ran into quite a few hurdles, that we overcame of course. But it was annoying too. Our design file was made in Rhino, exported as .dxf (trying all possible export settings), and using LaserWorks software to send files to the machine. Some issues and their solutions:
 
@@ -182,7 +176,13 @@ During the cutting process we ran into quite a few hurdles, that we overcame of
 
 ##Rhino design tips (now we’ve found all cutting hurdles)
 
-[INSERT]  Bea's notes here on exploding and exporting!
+We had many different problems, comes and goes from Rhino to the laser cut software. I believe the main reason was related to how the polylines were constructed and that they were being exported as very complex shapes for the laser cut program to read. 
+
+After all making these basic commands showed the best success rate: **Group** all your shapes, then **Explode** (it breaks into single unit objects, polylines or surfaces depending on the object), after that **SelDup**, this will shows the curves you have duplicated, you can just delete those. Now make sure to select the lines you want the laser cut to run all together and command **Join** do this for all the different groups. Having everything selected, go to File > Export selected > DXF option.
+
+At some moment, based on Cecilia’s recommendation, what made the file work was going into **Options** on the export settings and choose for “2007 Polylines” option. But in some other attempts it didn’t make a difference, so not really sure what is the final conclusion here. But if nothing else works, maybe you want to consider trying it as well!!
+
+[Rhino File](https://gitlab.fabcloud.org/academany/fabricademy/2020/students/beatriz.sandini/raw/master/docs/files/week%207/Neatfier_Final.3dm)
 
 ##Assembling
 
@@ -236,12 +236,13 @@ Cook up a batch of bioplastic and test it!
 
 We are also creating an IKEA style instruction manual to go with the designs for anyone who would like to recreate it. 
 
-![](https://class.textile-academy.org/2020/loes.bogers/images/wk07comicbook.jpeg)*Fragment of the instruction manual being designed by Paulina Martina, 2019*
+![](../images/wk07comicbook.jpeg)*Fragment of the instruction manual being designed by Paulina Martina, 2019*
 
 ##Mould and template design process
 
 **Software: Adobe Illustrator**
-*Process: *
+
+*Process:*<br>
 
 * Set-up an Artboard to the dimensions of the machine bed; 
 In this case we removed 2mm from L and W to allow comfort fit

docs/assignments/week08.md

 # 8. Computational couture
 
-TO DO: 
 
-* summarize results a bit more
-* Add links Aldo & Anastasia shared for reference (nice approaches!)
-* The deformations can also be done with stencils etc, not only 3D printing.
-
-https://youreshape.io/fold-the-interfashionality/
-
-https://www.youtube.com/results?search_query=paneling+tools+grasshopper
-
-https://discourse.mcneel.com/t/new-quadremesh-command/85601
-
-http://www.iaacblog.com/programs/fabricflation-_-structuring-textile-techniques/
-
-http://www.co-de-it.com/wordpress/informed-flexible-matter.html
-
-https://vimeo.com/299603461?fbclid=IwAR3DAIucdoxKruKTUdKozmeb14g2tdqWu2RUyt8FYzi2Z6O4GVDm0NtQGTM
-
-This week I produced some printed results, but I mainly spent a lot of time documenting what I learned from the tutorials I did, to build up a vocabulary or archive of useful *clusters* that represent a functionality or method. A bit like a function in programming I guess? Once I have a good overview of these it will be a bit easier to start doing my own designs/scripts by using them as building blocks. Screenshots of these annotated blocks allow me to quickly look at how stuff is done without having to go all the way into Rhino & Grasshopper (it gets a bit slow :D)
+This week I produced some printed results, but I mainly spent a lot of time documenting what I learned from the Grasshopper tutorials I did, to build up a vocabulary or archive of useful *clusters* that represent a functionality or method. A bit like a function in programming I guess? Once I have a good overview of these it will be a bit easier to start doing my own designs/scripts by using them as building blocks. Screenshots of these annotated blocks allow me to quickly look at how stuff is done without having to go all the way into Rhino & Grasshopper (it gets a bit slow :D)
 
 **"Tangible" Results**
 
@@ -209,6 +192,18 @@ There's many more techniques to do it depending on how you're constructing it I
 
 ##Inspiration
 
+https://youreshape.io/fold-the-interfashionality/
+
+https://www.youtube.com/results?search_query=paneling+tools+grasshopper
+
+https://discourse.mcneel.com/t/new-quadremesh-command/85601
+
+http://www.iaacblog.com/programs/fabricflation-_-structuring-textile-techniques/
+
+http://www.co-de-it.com/wordpress/informed-flexible-matter.html
+
+https://vimeo.com/299603461?fbclid=IwAR3DAIucdoxKruKTUdKozmeb14g2tdqWu2RUyt8FYzi2Z6O4GVDm0NtQGTM
+
 **Auxetic structures and metastructures**
 
 You can cleverly engineer materials so the change states in a way. Oh that is so cool! Bea found a file somewhere from somebody who made them. I'd like to explore this further. Especially for textiles it's interesting because they can really shift shape and SIZE! 

docs/assignments/week09.md

@@ -2,17 +2,9 @@
 
 ![](../images/wk09_crystalmesh.jpg)*Never thought I'd be making crystal mesh, Loes Bogers, 2019*
 
-**To Do**
+##Results
 
-* Document the concept, 3D model of the piece and document the design process
-* Make two samples with 2 out of the 5 techniques to make a prototype of a textile form: fabric formwork with casting crystalization wood-textile resin-textile leather molding or other
-* Document the process from CAD to CAMM, document how to use the CNC mill and prototype your textile composite
-* Upload your 3D model and CAMM file
-* Document the 2 processes you have followed step by step from design to machine and hands-on making, materials you used, your mistakes, failures and achievements
-* Use 3D modeling software to simulate your fabric deformation
-
-
-##Results: crystals, composites and leather forming
+This week I grew several crystals with alum, including a conductive crystal. I made some composites by growing small crystals on textile swatches. And made a 3D model that I CNC machined and used to make a silk-bioplastic composite and to do leather forming. 
 
 ![](../images/wk09_blackdiamonds.jpg)*Conductive Alum Crystals on a pipe cleaner, tulle and conductive thread, made with Bare Conductive Ink, Loes Bogers & Frank Vloet, 2019*