3D Design and Printing

As part of the third photography assignment to copy one photograph from a list of photographers from the first 150 years of photography, I wanted to copy Harold Edgerton’s Milk Drop. This was created using strobe lighting in a darkened room and allowing the film to run through the camera such like a motion picture camera would. This allowed the camera to capture the motion of the milk as it fell through the air and created a splash.

I used Meshmixer, a 3D design tool. I was new to this software, but had to pick it up very quickly to design the milk drop in time to finish my project. I consulted those in the art department that had previously used the programme, and YouTube, for useful videos to help me on this. Instead of producing a design from scratch, I manipulated a design that I found on thingiverse, which I believe made the project easier. I managed to gain a final design by continually looking at the milk drop and aiming to gain the same angles.

The final design was then saved and dragged into Cura, a software I have previously used for 3D printing. The print measuring 10cm would take around five and a half hours. Unfortunately, when I went to collect my print, I found that the 3D printer had struggled, or had simply not printed the top layers where the spheres were. I consulted the technicians in the department, and we decided that I could either use clay, glue gun or a self-hardening putty. I first tried clay, however this kept falling off and extra adhesive wouldn’t stick to the clay itself. I then decided to experiment with a glue gun. This stuck to the plastic very well, and I was able to manipulate the glue in such a way that it looked like the 3D print that I had designed.

The print and glue was then painted with household high gloss paint and once it had dried, was used in the lighting studio for the photography element of the project. Although several things had gone wrong as part of this process, I felt like this was still a good choice of process and material for the object, bringing something new and something old together.

Setting up Cards, Drips and Taps

Using a lighting studio, I was able to use the black curtain in a curved formation to recreate the background of the Harold Edgerton photograph, ‘milk drop’. The light was controlled using a snoot on a spotlight. This technique of the black curtain and snoot on the spotlight was also used with the cards photographs. The tap, on the other hand, required a delicate set up of a black cloth, while two iPhone torches were directed towards the tap and the water. All photographs used a light meter and were taken several times with surrounding settings to ensure a clear photograph.

Sculpture: Wood and Metal Assignment

This is the second of the sculpture assignments, looking at the use of the wood and metal workshops within the University of Ottawa. The project demanded two chairs as part of the brief, and I found two small children’s chairs that I soon wanted to make a curled up child, natural in form, such as the bodies of Kiki Smith. I wanted to attempt something more abstract, with inspiration from Ai Weiwei and Marc Sparfel, but found myself drawn to the more natural sculpture of Brian Jungen‘s plastic garden chair whales. After assessing the wood that I had, I found that the design was not compatible, and I moved onto what I thought would be easier; making part of a tortoise shell.

After choose a tortoise shell, I found that manipulating the wood into the forms that I wished it to go in was more difficult than anticipated, and several times I did not find it suitable to continue. Keeping all the smaller off cuts, I was able to salvage them into a smaller element of the shell that the larger element sat on. The final result of the wood was at first disappointing, as it was not what I had in mind. I initially wanted a smooth and formal shell that hid its imperfections, but as the project grew larger and time shorter, I found that the mismatch of the pieces was what made it unique and special. The metal created a hollow element to the shell, that was previously unavailable, and allows the audience to see through the wood, as well as at it. It was quite not of this world, much like the exploratory work of Tiffany April, whose work invites you in, much like this does. Balancing on its own also simulates the important balancing technique of Ben Woodeson, as the wood and metal are not connected to one another.

The final result named Show Me Your Insides, is a balancing empty shell, visible from all angles. It is an invitational piece that comments on the manipulation of material and trying to understand more than what is presented. The depiction of a natural shell in man made and natural materials adds to the unknown, especially of that within the animal kingdom.

Adding Metal To Chairs

I knew I wanted to merge a metal structure into the already made wooden structure, while using no fixtures, much like Ben Woodeson. I ended up creating a hollow, metal part of the shell that would help support the wood, while adding to the existing shape. This creates the effect of imagining what the shell would look like if it was to continue, both inside and out.

To create the metal element, I used MIG welding and a circular metal rod, cut down into appropriate lengths for the intended design. It was led down on the floor as a rough estimate, and then welded according to that design and the memory of it. I enjoyed the welding as I have previously welded and was comfortable doing so. Some of my welds were rough, however I felt like it added to the visible exploration of the material.