.gitlab-ci.yml

-image: python:alpine
+image: python:3.8-slim
 
 before_script:
   - pip install -r requirements.txt

docs/assignments/week01.md

@@ -27,6 +27,12 @@ Also Fiore's tutorial has been very helpful here:
 
 \* *I notice I'm becoming one of those people who writes documentation but doesn't explain the steps that already feel "normal" to me. Hmmm. I'll have a think to think what I think about that.* 
 
+## OR: push via http and access tokens
+
+Later on I started using my Github Desktop app for a bunch of other stuff and my connection stopped working. I couldn't figure it out so I deleted the repository and cloned it anew over http. This [tutorial](https://itnext.io/how-to-use-github-desktop-with-gitlab-cd4d2de3d104) by Shedrack Akintayo explains how to use access tokens push without having to re-enter your password when pushing over http. Amazeballs, thank you Shedrack!
+
+
+
 ## Customizing text, fonts, colors in the mkdoc
 
 I customized some basic stuff to change the look of the page. I love the font Karla, we use it for everything where I work, so I'm using it here too. I think you can basically look up any Google Font and use it. I liked the idea of having a special font for code, so I specified one for that as well. 
@@ -106,5 +112,108 @@ Then you keep the code you want to keep, delete the conflicting code and the mar
 ![](../images/wk1_solved.jpg)*conflicts resolved!*
 
 
+##State of the art & inspiration
+
+## Inspiration
+
+### Fabricademy graduates
+
+![](https://gitlab.fabcloud.org/academany/fabricademy/2019/students/jessica.stanley/raw/master/docs/images/finalproject/stitchsyth2.gif)*Jessica Stanley's Stitch Synth project, 2019*
+
+**Jessica Stanley's Stitch Synth**
+I saw [Jessica's work](https://class.textile-academy.org/2019/jessica.stanley/projects/00final-project/) at the last Fabricademy expo in Amsterdam. Super nicely done. 
+
+I also really liked her experiments with tesselation in the Textile as Scaffold week. The slow movements the textile creates are really nice to watch. 
+
+And also her voronoi for [computational couture](https://class.textile-academy.org/2019/jessica.stanley/assignments/week07/) are so cool. She printed these shapes on stretchy fabric, making the textile pull itself into a 3D shape. 
+
+And the pleat switch and this sensor below. OMG Jessica  stop it nowwww I'm totally fangirling your fabricademy page. This makes me think I will really enjoy the electronics work in the next few months.
+
+![](https://media.giphy.com/media/5k0rrSdjXmmQ68mABP/giphy.gif)*Jessica Stanley, 2019*
+
+**Teresa van Twuijver's analog soft sensor**
+[Teresa](https://class.textile-academy.org/2019/teresa.vantwuijver/assignments/week05/) made this nice soft sensor using smock embroidery. I'd seen a similar thing on kobakant once, wow it's soooooo nice. 
+
+![](https://gitlab.fabcloud.org/academany/fabricademy/2019/students/teresa.vantwuijver/raw/master/docs/images/week5_softsensorproto2.gif)*Teresa van Twuijver, 2019*
+
+Her [circular fashion designs](https://class.textile-academy.org/2019/teresa.vantwuijver/assignments/week03/) are also quite cool! 
+
+**Barbara's Kombucher!**
+Really cool idea to make a tool like this [kombucha fiber printer](https://class.textile-academy.org/2019/barbara.arteaga/projects/final-project/)
+
+<iframe width="560" height="315" src="https://www.youtube.com/embed/cuHtJgnv2qU" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
+
+And many many more...
+
+### Go big or go home: drag performers and other style queens
+This is something I've been obsessed with for a long time. I think the innovative ways of thinking about the malleability and unstable nature of the body and gender is super interesting and made me fall in love with this art form. I do it myself sometimes too :) No RuPaul quote is lost on me (we're all born naked and the rest is...you know the rest). I'd love to take as many assignments as possible closer toward something that might be applicable in the context of the art of drag to develop into a larger project later. I imagine eco-aware drag could be a very interesting avenue to explore. In the meantime, I'll summarize as: go big, or go home.
+
+**House of Holographic Hoes and Milk X Hana Quist**
+
+A local house who did an amazing show at last year's superball, with over the top LED powered gowns. I mean, I don't really like LED strips so much, especially not in clothing but context IS everything.
+
+Or drag performer Milk in this knitted number by Hana Quist. Oh yes. 
+
+![](../images/wk0_drag.jpg)*Left: House of Holographic Hoes at Paradiso's Superball, 2019. Right: Drag performer Milk in a knitted garment by Hana Quist*
+
+**Other fabulous drag performers and style queens**
+
+Such as Aynouk Tan - you can worry about the clothing mountain - or just dress up as one. I think [her thinking and personal style](https://www.aynouktan.com/) are really out there.
+
+![Aynouk Tan](https://aynouktan.com/____impro/1/onewebmedia/10827970_10153943396384659_1941713512951619825_o-2.jpg?etag=%22464ea-58ef9af9%22&sourceContentType=image%2Fjpeg&ignoreAspectRatio&resize=700,467)*Aynouk Tan with a mic and smiling lady in black*
+
+**I bow to Valeska Jasso Collado for her graduation collection**
+
+These theatrical garments have an amazing genderclowning vibe about them, they remind me of [1920s Bauhaus costumes](https://cdn.vox-cdn.com/thumbor/U4wEGXhe1duKVyacjE6z3KsIFZg=/0x0:1000x645/1200x800/filters:focal(420x243:580x403)/cdn.vox-cdn.com/uploads/chorus_image/image/57322995/escola_bauhaus.0.0.jpg)and I love it! She folded latex-covered foam into [geometric garments](https://www.dezeen.com/2014/06/09/valeska-jasso-collado-westminster-fashion-collection/). 
+
+![](https://i.pinimg.com/originals/3f/fd/40/3ffd409a341499881843557a29ac5b6f.jpg)*image by Valeska Jasso Colado*
+
+### Textile artists/designers/upcyclists/hackers
+
+![](../images/wk0_designinspiration.jpg)
+
+*Images: Golden Joinery (image by Droog) in the background, Justyna Wolodkiewicz' embellishments  (left) and Anya Hindmarch's embellished skirt (image by Stuart C. Wilson/Getty Images Europe)*
+
+**[Golden Joinery](http://goldenjoinery.com/#about) or kintsugi for clothing, by Painted Series** is a really nice example of repair as a design strategy that adds value to used things.
+
+I really enjoy the hectic **embellishments by Justyna Wolodkiewicz** and the one on the **pink skirt by Anya Hindmarch** There's loads out there. One reason why I like this is because I imagine picking cleverly from waste materials will allow for a lot of cool designs. They can also be combined with electronics perhaps? I really like the 3D textures you can add with this.
+
+**Coral Love Stories by Kasia Molga (and Erik Overmeire)** below is such a beautiful combination of fashion and electronics and thermochromic pigments. It's very subtle, unlike some other sources of inspiration but I just think this is beautifully done and tells an important story about shringking coral reefs.  
+
+<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/211299558?color=00d554&byline=0&portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>*Coral Love Story by Kasia Molga (with Erik Overmeire and Ricardo O'Nascimento)*
+
+And let's not forget the amazing experiments and documentation done by **[Plusea on the Kobakant How to Get What You Want page](https://www.kobakant.at/DIY/)**, such as this beardy sway sensor....*bows*.
+
+![](https://live.staticflickr.com/65535/47790755952_9b33dd38fa.jpg)
+
+Last but not least, a shop! **[Mooizooi in Haarlem](https://mooizooi.org/)!** This is a social enterprise that collects waste materials from industry, sort it by color, and sell it for almost nothing. I'd love to stop by there and use only this leftover material, for example to make the embellishments like the ones below. 
+
+**My own students who have inspired me!** 
+
+The students I get to know during the minor Makers Lab continue to inspire, teach and challenge(!) me loads. Some of their experiments were really great!
+
+![](../images/wk0_studentwork.jpg)
+
+Top left is Geert Lens' textile touchscreen entirely made from scratch (2018). He developed a ropemaker to insulate conductive thread, a loom to make the textile, and of course programmed the sensor himself.
+
+Geert also made this glove (bottom left) that vibrates when it senses peaks in electromagnetic fields, such as when a subway train pulls out of a station (together with Anton Westin and Jaap Spruitenburg 2018). The wanted to explore invisible signals in the city and found that some people are extremely sensitive to EMFs, whereas most of us aren't even aware of them.
+
+Melissa de Bie and Elisa van der Burg's and bioplastics experiments to research how they could make the gorgeous tote bag in 2019 (middle).
+
+Kristin Jakubek & Frida Eriksson's skin sensor (with some help of Geert) from 2018 (top right).
+
+Geert's coils that pick up some residue energy from RFID scanners, just enough to light up an LED (bottom right). 
+
+### Books
+* Radical Matter: Rethinking Materials for a Sustainable Future by Kate Franklin
+* Zeroes and Ones by Sadie Plant
+* Fray by Julia Bryan-Wilson
+*  Folding Techniques for Designers From Sheet to Form by Paul Jackson
+* Supersurfaces" Folding as Method of Generating Forms for Architecture, Products and Fashion by Sophia Vyzoviti
+
+That's it for now!
+
+
+
 
 

docs/assignments/week03.md

 # 3. Circular fashion
 
-![]()<br>
-*Image of the final result of the week*
+![](../images/wk3final1.jpg)<br>
+*One of the final designs made with the modules, Loes Bogers, 2019*
 
 
 ##Assignment must-haves
@@ -195,14 +195,51 @@ Not entirely, because of the fact that I have 7 pieces. I cannot nest them seaml
 ![](../images/wk03_cutfile.jpg)<br>
 *Cutfile for the six modules, Loes Bogers*
 
+![](../images/wk3basket.jpg) Round and round we go, tinkering with the modules, Loes Bogers, 2019. 
+
 ## 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. 
+
+**The mad hatter**
+I quite liked the crazy crowns and hats that came out but thought they were really a bit to straight, considering the work I'd put in to try make curves and 3D shapes. 
+
+![](https://media.giphy.com/media/S8O6BQcPNN0I9LEkGj/giphy.gif)<br>*Mad hatter experiments with the modules, Loes Bogers, 2020*
+
+**Shoulder piece/choker/headpiece in one**
+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. And it turned out it also works as a headpiece. Very maleficents. 
+
+![](https://media.giphy.com/media/Lnbx3LU39qhjw68tcE/giphy.gif) <br> *Option 3: a maleficent inspired headpiece, Loes Bogers, 2019*
+
+
 ## The not-so-ultimate ikea guide to DIY this
 
 ### Design files
+
+To make this piece you need to cut these amounts of modules 3-6 (modules 1-2 are too small and fragile, module 7 is a bit too big for this), or more/less depending on your size. I'm a size UK10, EUR38. 
+
+| Row    |  Amount    |  Module |
+|-----|-----------------|---------|
+| 1 | 21x | module 3 |
+| 2 | 21x | module 3 |
+| 3 | 21x | module 4 |
+| 4 | 21x | module 4 (turned 90 degrees counter clockwise) |
+| 5 | 21x | module 5 (orientation like row 4) |
+| 6 | 21x | module 6 (orientation like row 5) |
+| 7 | 21x | module 6 (orientation like row 5) |
+
+Find the .ai design files [here](../files/wk03_modules.ai). These were cut with the settings speed 150, power 25.
+
+![](https://media.giphy.com/media/WtVPTtZZzHF7xLk7tx/giphy.gif)<br>*option 1 and 2: a shoulder piece or a choker, Loes Bogers, 2020*
+
 ### How-to
 
-## Room for improvement?
+The design for the choker, the shoulder piece and the head piece are all the same. Starting from the left ear, you want to start with a row of 21 x module 3, and then to that line start attaching the other modules following the table above. 
+
+For a headpiece you might want to mount it on a plastic head band/tiara, or secure it to your hair or wig with bobby pins. 
+
+![](../images/wk3howto.jpg)
+
 
 ## Tutorial by Cecilia
 

docs/assignments/week04.md

@@ -11,9 +11,9 @@ The students in the Amsterdam lab collaborated to make a shared repository of dy
 ![](../images/wk04_collage.jpg)*A love affair with cabbage, Loes Bogers 2019*
 
 **Dying silk with bacteria**<br>
-And lastly, dyed a piece of silk using Serratia Marcensis grown and nurtured by Cecilia and her collaborators at the Biolab. We cooked the growing medium together, sterilized together and each dyed our own piece of silk: 
+And lastly, dyed a piece of silk using Serratia marcenscens grown and nurtured by Cecilia and her collaborators at the Biolab. We cooked the growing medium together, sterilized together and each dyed our own piece of silk: 
 
-![](../images/wk04_bacteriasilk2.jpg)*Silk died with Serratia Marcensis, Loes Bogers 2019*
+![](../images/wk04_bacteriasilk2.jpg)*Silk died with Serratia marcenscens, Loes Bogers 2019*
 
 **Inks**<br>
 We made a range of inks based on the dye recipes (some modified, others not) and experimented with it on paper, using several modifiers. 
@@ -242,10 +242,10 @@ Once you start working with the bacteria themselves: close doors and windows to
 
 Sign in and out and clean up your dishes. Through away the water after. 
 
-###Meeting Serratia Marcensis
-We met Serratia Marcensis! A red/orange beauty that gives us pink (in acidic solutions) if you treat her well and feed her peanut butter. They used to keep a purple one too but sadly it died when the freezer broke over summer. You have to keep her alive by giving her new food every few days (replating). 
+###Meeting Serratia marcenscens
+We met Serratia marcenscens! A red/orange beauty that gives us pink (in acidic solutions) if you treat her well and feed her peanut butter. They used to keep a purple one too but sadly it died when the freezer broke over summer. You have to keep her alive by giving her new food every few days (replating). 
 
-![](../images/wk04_thebacteria.jpg)*Serratia Marcensis at the biolab, Loes Bogers, 2019*
+![](../images/wk04_thebacteria.jpg)*Serratia marcenscens at the biolab, Loes Bogers, 2019*
 
 ###Growing media, or: what to feed Serratia
 Plate some growing media mixed with crunchy(!) peanut butter. Nuts and seeds can do wonders with some bacteria. We prepared these growing media: 
@@ -267,8 +267,8 @@ We measure the ingredients with a precision scale (stabilize before using), by p
 
 Then we sterilized the food bottles. The lid should be loose! Otherwise it can explode in the pressure cooker. You close them after sterilizing. 
 
-*Autokleeftape!*
-Stick a bit of autokleeftape to the top. It has diagonal lines that turn dark if you sterilized correctly. Handy....
+*Autoclave tape!*
+Stick a bit of autoclave tape to the top. It has diagonal lines that turn dark if you sterilized correctly. Handy....
 
 *Handling the pressure cooker*
 Close the lid, seal the lid (locking it), and turn the knob to position 2. When the little pin firmly comes *all the way out*, the cooker is under pressure and you can start the timer for 15 mins.
@@ -281,7 +281,7 @@ We each got a piece of silk that we folded or crumpled up to create patterns/sym
 
 ![](../images/wk04_folding.gif)<br>*My folding improvisation, Loes Bogers, 2019*
 
-Put the fabrics in **glass petri dishes**, or in a heat-resistant **autoplate bag**. Again, stick some autokleeftape on to assess whether it sterilized correctly. Sterilize for at least 15 mins under pressure in the pressure cooker. 
+Put the fabrics in **glass petri dishes**, or in a heat-resistant **autoclave bag**. Again, stick some autokleeftape on to assess whether it sterilized correctly. Sterilize for at least 15 mins under pressure in the pressure cooker. 
 
 ###Plating
 

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
 
-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**
 
 Besides the documentation below, I also tried out some designs by printing them on textile. I worked with the image sampler to create some shallow surfaces consisting of separate geometries. They would fall apart if printed in the usual way, but printing them on textile holds them together. Sizing is a bit of a trial and error still. These samples are useful to try out how small you can go without elements just falling off. I printed these with an Ultimaker 3, using PLA, and Cura as a slicer. 
 
-![](../images/wk08_printtest1.jpg)*First test looking promising at first, Loes Bogers, 2019*
-![](../images/wk08_printtest2.jpg)
-![](../images/wk08_printtest3.jpg)
-![](../images/wk08_printtest4.jpg)
-![](../images/wk08_printtest5.jpg)
-![](../images/wk08_printtest6.jpg)
-![](../images/wk08_printtest7.jpg)
-![](../images/wk08_printtest8.jpg)
-![](../images/wk08_printtest8.jpg)
-![](../images/wk08_printtest9.jpg)
-![](../images/wk08_printtest10.jpg)
+![](../images/wk08_printtest1.jpg)*First test on organza looking promising at first, Loes Bogers, 2019*
+
+![](../images/wk08_printtest2.jpg)*3D texture on velour/velveteen, Loes Bogers, 2019*
+
+![](../images/wk08_printtest4.jpg)*Some truchettiles on velour/velveteen (right) and lycra (left), a bit too thick for my taste, Loes Bogers, 2019*
 
 
 **Things I can think now that I've tried making a few of these**
 
 * Thin, single layer lines on velour/velveteen are so nice! Go nozzlesize (0.4mm) in the design and extrude the minimum (0.1mm) for standard setting print in Ultimaker. 
+
+![](../images/wk08_printtest9.jpg)*Not stretching the fabric out is a mess (left), single thin lines on velour/velveteen are beautiful though! (right), Loes Bogers, 2019*
+
 * Very small dots jump off like crazy! Don't do very small single dots
 * One layer of PLA is flexible, but it gets rigid after that real quick. If you design a relatively dense patterns I'd probably not make it higher than 1 mm for big chunks at a time.
 * Could you print interlocking elements onto textile to sculpt garments? 
 * Grid-like structures give interesting rigid parts but need to have a function, otherwise it's just, well, hard.
+* Covering the print bed with double sided tape helps prevent the textile from moving around and being dragged by the nozzle. 
+
+![](../images/wk08_printtest10.jpg)*Double sided tape on the bed, to keep the textiles from moving around, Tesa tape, Loes Bogers, 2019*
+
 * Lycra needs to be fully tensed (stretched as for as possible), or the printer nozzle goes on a date with the textile. We do not want.
 * Single lines on thin stretchy lycra are a bit ugly in my sample but I think they could potentially be interesting to give textures/frills. 
-* Slowing down the print speed to 50% helps the printer lay down the first layer, it will stick better to textile too.
 * Organza is amazing, pink is amazing. You're perfect, never change. 
 * It would be nice to be able to turn off the skirt line (outside design, the printer adds this). Check out how. 
-* Printers just don't do small intricate things all too well, so be aware. 
+* Printers just don't do small intricate objects all too well, so be aware. 
+
+![](../images/wk08_printtest6.jpg)*These came jumping off, too small, I kind of like what the white line is doing curling up the lycra on the left though, Loes Bogers, 2019*
+
 * Stopping a print halfway sounds like a good idea, but you don't get a full shell unless it runs until the end. You don't really want to see infill I suppose. Unless you do, of course. 
 * Scaling after the fact in the slicer software seems like a good idea too. But thin lines will get thick if you scale up and vice versa. Your working parametric now, Lucy goosey, just push a few sliders and do things at their proper size ;-)
 * The Ultimaker 3 does an automatic leveling sequence to check if the bed is level and even. It does not want to have textile stuck on top of the bed. Luckily, the PRUSA printer, the ultimaker 2+ and 2+ extended can be fooled. 
+* Slowing down the print speed to 50% helps create better adhesion to the fabric, and make nicer lines with less dragging. 
 
-
+![](../images/wk08_printtest8.jpg)*Trying out the grid deformation designs (with tensors technique, see below), slowing down the speed of the printer gave much better adhesion (right), only printing one layer keeps the textile very flexible, Loes Bogers, 2019*
 
 ##Tutorial time
 
@@ -91,9 +96,7 @@ Pretty nice beginner tutorial this one [here](https://www.youtube.com/watch?v=iX
 
 [This tutorial](https://www.youtube.com/watch?v=n_bZJjkkkG8&list=PLXJnjBsCdBxHFOV1te8BiZnfz9LF7mpHT&index=3&t=0s) was great for creating tile-like patterns like the one I made below. I was not successfull in creating a printable design yet! I have to study the parameters a little better to understand how I can avoid making crazy intersecting lines and end up with curves that an be offset and extruded. But good start and lots of playing around. 
 
-![](../images/wk08_prusasaysno.jpg)*Looking really cool! But Prusa slicer says no. Loes Bogers, 2019*
-
-SCREENSHOTS HERE
+![](../images/wk08_prusasaysno.jpg)*Some other examples I made. Looking really cool, but Prusa slicer says no. Loes Bogers, 2019*
 
 
 **Truchet tiles**
@@ -106,7 +109,7 @@ SCREENSHOTS HERE
 
 ![](../images/wk08_truchettiles2.jpg)*Producing a pattern that can be created for each cell, Loes Bogers, 2019*
 
-#GIF HERE
+![](../images/wk08_dispatch.gif)*Switching between modes, Loes Bogers, 2020*
 
 ![](../images/wk08_truchettiles5.jpg)*Exploding cells and using the segments to define parameters for curves, Loes Bogers, 2019*
 
@@ -185,13 +188,19 @@ There's many more techniques to do it depending on how you're constructing it I
 ![](../images/wk08_loft_extrude2.jpg)*And another way to create solids from curves, Loes Bogers, 2019*
 
 
+##Inspiration
 
-###Prusa slicer and 3D printer
+https://youreshape.io/fold-the-interfashionality/
 
-###Ultimaker 3
+https://www.youtube.com/results?search_query=paneling+tools+grasshopper
 
+https://discourse.mcneel.com/t/new-quadremesh-command/85601
 
-##Inspiration
+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**
 

docs/assignments/week11.md

 # 11. Implications and applications
 
-This week I worked on defining my final project idea and started to getting used to the documentation process.
+>Our lives are henged round with systems of classification, limned by standard formats, prescriptions, and objects. Enter a modern home an you are surrounded by standards and categories spanning the color of paint on the walls and in the fabric of the furniture, the types of wires strung to appliances, the codes in the building permits allowing the kitchen sink to be properly plumbed and the walls to be adequately fireproofed. Ignore these forms at your peril – as a building owner, be sued by irate tenants; as an inspector, risk malpractice suits denying your proper application of the ideal to the case at hand; as a parent, risk toxic paint threatening your children. To classify is human.
+>
+> – Bowker & Star, *Sorting Things Out: Clasification and its Consequences*, 2000: p. 1
 
-## Research
+## Lost in Material Archives
 
-"Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum."
+<iframe src="https://docs.google.com/presentation/d/e/2PACX-1vSkdPoDWi5P-JfrYTUDtJelboAx5EKclvjIxfGMPSLR_QhpJwobThQY6XcrvoG9nlWe-opwY5jTLvgZ/embed?start=false&loop=false&delayms=15000" frameborder="0" width="960" height="749" allowfullscreen="true" mozallowfullscreen="true" webkitallowfullscreen="true"></iframe>
 
-> "Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum."
 
-## Useful links
+## References
 
-- [Jekyll](http://jekyll.org)
-- [Google](http://google.com)
-- [Markdown](https://en.wikipedia.org/wiki/Markdown)
+Bowker, G. and Star, S. L., *Sorting Things Out: Classification and Its Consequences*, Cambridge/London, MIT Press: 2000 (1999).
 
+Dekker, A. (ed.) *Lost and Living (in) Archives: Collectively Shaping New Memories*, Amsterdam, Valiz: 2017.
 
-## Code Example
+Derrida, J. *Archive Fever: A Freudian Impression*. Chicago: University of Chicago Press, 1996 (1995). 
 
-Use the three backticks to separate code.
-
-```
-// the setup function runs once when you press reset or power the board
-void setup() {
-  // initialize digital pin LED_BUILTIN as an output.
-  pinMode(LED_BUILTIN, OUTPUT);
-}
-
-// the loop function runs over and over again forever
-void loop() {
-  digitalWrite(LED_BUILTIN, HIGH);   // turn the LED on (HIGH is the voltage level)
-  delay(1000);                       // wait for a second
-  digitalWrite(LED_BUILTIN, LOW);    // turn the LED off by making the voltage LOW
-  delay(1000);                       // wait for a second
-}
-```
-
-
-## Gallery
-
-![](../images/sample-photo.jpg)
-
-## Video
-
-### From Vimeo
-
-<iframe src="https://player.vimeo.com/video/10048961" width="640" height="480" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>
-<p><a href="https://vimeo.com/10048961">Sound Waves</a> from <a href="https://vimeo.com/radarboy">George Gally (Radarboy)</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
-
-### From Youtube
-
-<iframe width="560" height="315" src="https://www.youtube.com/embed/jjNgJFemlC4" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>
-
-## 3D Models
-
-<div class="sketchfab-embed-wrapper"><iframe width="640" height="480" src="https://sketchfab.com/models/658c8f8a2f3042c3ad7bdedd83f1c915/embed" frameborder="0" allow="autoplay; fullscreen; vr" mozallowfullscreen="true" webkitallowfullscreen="true"></iframe>
-
-<p style="font-size: 13px; font-weight: normal; margin: 5px; color: #4A4A4A;">
-    <a href="https://sketchfab.com/models/658c8f8a2f3042c3ad7bdedd83f1c915?utm_medium=embed&utm_source=website&utm_campaign=share-popup" target="_blank" style="font-weight: bold; color: #1CAAD9;">Dita&#39;s Gown</a>
-    by <a href="https://sketchfab.com/francisbitontistudio?utm_medium=embed&utm_source=website&utm_campaign=share-popup" target="_blank" style="font-weight: bold; color: #1CAAD9;">Francis Bitonti Studio</a>
-    on <a href="https://sketchfab.com?utm_medium=embed&utm_source=website&utm_campaign=share-popup" target="_blank" style="font-weight: bold; color: #1CAAD9;">Sketchfab</a>
-</p>
-</div>
\ No newline at end of file
+Lévi-Strauss, C. *The Raw and the Cooked* [Le Cru et le Cuit, 1964]. Chicago: Chicago University press, 1969.
\ No newline at end of file