My Found Resolution!!!

April 18, 2011

Hey guys!!
I have found a resolution to hiding the imperfection of the interior scaled down replica of my rhino design. The issue I was facing was that castings develop a skin which act as a barrier for patinas and depletion gilding treatments and so I had no choice but to leave the interior of my piece untouched because there was no way of getting inside to clean it. The jewellery technician Robert Mitchell has given me a brilliant solution.

Step 1: Using thing cotten like steel wool, wrap pendant piece into a cocoon like mesh.

Step 2: Place piece into container with holes and dunk it into a bath of pickle (which contain the chemical sodium bisulphate). Pickle is used in jewellery practices to remove oxides on metal after soldering. When steel is introduced into this chemical a reaction happens where any metal present in the bath will become copper plated.

Ta Daa! My entire piece is now copper plated. Step 3: I went and did it a couple of times to ensure a thick coating

Step 4: Throw copper plated piece into liver of sulpher patina. This will turn the piece black.

Surprise! My piece is now black on the exterior and interior.

Step 5: Polish off the patina on the exterior.

Step 6: Using a small piece of metal sand off an outline of the cutout on the smaller replica. This highlights visually that there is something existing inside the pendant.

Finished! The copper plating allows for patinas to work on the casting skin. =D

Presentation Additional Images

April 17, 2011


Leah Chiang: Project 3: Process Work

April 17, 2011

This is my last post concerning the processes of the Rapid Prototype heart design and the evolution of the digital transforming into an art piece.

RP Model

The Cast models

(from the Casting House).

@ Ready Mounts <>

Small, medium and large hearts with sprues attached.

Large Heart with Pierced Sprue. This process will enable the pendent to hang on a necklace.

This Pendent is finished drilling and ready to have a soldered post and cleaned up.

Post is used to fasten a pearl. I decided to use a 100% natural freshwater Tear-dropped shape pearl as the main focus on this piece. This is due to its delicate nature of creation, shape/form, and the way it compliments the heart. I really liked the patterns that the RP process gave me in the heart, thus, utilizing RP as the integral purpose for the creation of the pattern within the design.The pearl adds meaning to the design, suggesting a sadness within the heart. The pearl, symbolizing a tear, is reminiscent of sadness, suggesting the viewer to produce their own conclusions to the meaning behind the piece.

This image is a test to see how the pearl will be placed on the pendent..







This is the smallest heart converted into an earring. All the components are together.








Finished Product as a stud earring.

This is the medium sized heart that will be converted into a ring.

This is the two components of the ring. The first is the RP heart with sprue attached. Second is a balled up piece of silver wire.Both ends are soddered

This is what i used to shape both components of the ring to be a full circle while using a ring mandril. Both the wooden shape and ring sizer (mandril) helps to form the ring.

This is what we use to polish small things. Its called a Tumbler. Ive used it on all three pieces.

Finished Pieces.

Project Three: Tara Paashuis

April 17, 2011


March 31, 2011: Well, the 3D printing process went ok.  There is definitely a texture (and a couple flaws) to the object which may or may not become part of the finished product.  Rather than sand the plastic form, I decided to postpone any textural decisions until the finishing stage.

I did hit a few problems at the plaster-casting stage, which are most likely due to my limited experience with ceramics in general.  I made some educated guesses, process-wise, and decided to fill the plastic form with clay.  This was the right thing to do, because light objects do have a tendency to float up through the curing plaster! (The making of the mold itself is quite time sensitive and messy, and standard process, so pictures were not taken.)

Trying to get the plastic out of the plaster proved difficult, as I did not apply ‘mold soap’ to to the plastic before pouring ~5lbs of plaster on it.  Oops!  I did however, instinctively wipe on a fair amount of wax, which is routinely applied to the plastic coddle and melamine board.  After shaving a bit of the dried plaster away from the rim, and 20m of nervously delicate prying, I did succeed.

After the mold dried for a day or two I was able to clean it out.  I decided to leave any flaws from the printed bowl and/or casting process to potentially highlight any irregularities.  (Note: From here on in, there is no difference in production methods between using a digital prototype and a hand-made form.)

I managed to find someone with cone 6 porcelain slip to spare,  so I did not need to purchase a whole bucket at the end of the term. The slip-casting process is a standard procedure and looks the same as the Project 2 post.  I decided to make 4 bowls of different thicknesses, because thin = more delicate and less likely to make it though the kiln.  After a day or two of drying, I sponged smooth the rough rim and left some of the printing texture on 2 of the four bowls, as this might be a interesting contrast with the gold glaze I plan on using.

All four bowls are now waiting to be bisque fired.  I do hope they all survive.

April 3, 2011: All four bowls survived the first firing.  The ‘saturation gold’ glaze that I purchased has been brushed on using 2-3 coats.   My bowls are thin, so I have to hope that they don’t crack under the weight of the glaze.  I put less than the recommended amount on the thinnest ones to experiment.   The glaze colour will change in the kiln, but the whole thing could be a splotchy and awful mess.  (I have never used this glaze before, nor has anyone else in the ceramic studio!)   It won’t be the mirror shine I would like, as apparently real gold luster over-glaze releases some terrible fumes, is not food-safe, and requires a comparatively super low firing temperature that might not be available to me.  Perhaps what the commercially produced dishes with gold filigrees and rims are electro-plated or leafed (or ??)  This is something I need to look into…

April 9, 2011: All 4 bowls survived the second firing, which is good news, but the glaze result is really not what I expected.  As I had predicted, surfaces left unglazed revealed the 3D printing texture, and glazed surfaces were as smooth as non-CAM’d objects.  I will need to experiment more with other glazes and application techniques, I think.  It would be interesting to find out if a clear glaze would offer hints of the printed texture.

* these pics are not showing much texture… I will go back and photograph them in daylight.

Through this class, I have found that incorporating CAD/CAM technologies into my process can provide a level off accuracy and speed not available when sculpting by hand.  There is no waiting for clay to firm, and I will never run out of pixels/data to play around with.  If I make a mistake, I can just undo and not have to re-build by hand.  I also do not need to spend any amount of time cleaning up clay debris, washing my tools/tables, or brushing dust off my clothes.

The disadvantage of using CAD/CAM is a delay, and sometimes costly, transition from the virtual to real.  There is certainly more immediacy to sculpting by hand, and I am not engaging with my final materials.  Also, sometimes unexpected mistakes can produce great ideas.  I have not experienced any randomness or surprises using Rhino, only frustration when those NURBS pinch or pull wildly out of control.

But back to the advantages:  I don’t even require access to the studio! I can work from almost anywhere…  I can model several versions of one object in the virtual realm for comparison, scale up/down, add/remove detailing, etc, and choose the best form for prototyping.  Repeated elements can be arrayed or copy/pasted quickly and easily.  Doing that in clay would obviously take much, much longer.  I can imagine modifying one shape into bowls, cups, plates or whatever into a comprehensive family of tabletop pieces.

In terms of my interiors and architectural design process, I have so far managed to bring one simple Rhino-made form into Revit for another class project.  Both AutoCAD and Revit rely heavily on ready-loaded or downloadable elements from industry manufacturers to specify or detail windows, doors, casework, furniture, etc., so using a program like Rhino allows me to design and incorporate project-specific parts into other software platforms –  good news for designers looking to move beyond a kit-of-parts process in digital architecture.

Project 2 (Jay Joo)

April 17, 2011

Project3 (Jay Joo) – Casting process breakdown

April 17, 2011

These  images are from bronze casting

This type of casting is called ‘sand casting’ and

images are from making the mould to heating up the crucible,

and then pouring into the mould

last image is when it came out of the mould :]

Ian Norton from foundary helped me through this process

Project 3 – Daniel Kim and Dia Jiao

April 15, 2011


April 14, 2011


This project was an exploration of material, and form. The ability to model a natural  form in 3D opened up new avenues for for its production. In terms of material, particularly for the skin of the canopy, it would be worth while to continue experiementing to find a perfect fit. because of the scale of the model, I found that ‘plastidip’ was too thick and viscous to for the delicate membrane I was pursuing.

Project 3:Vertebrea Backpiece

April 14, 2011

in order to complete this piece, after the main Vertebrae were Prototyped using the MJM Printer, I took a Wooden dowel, cut into increments and sanded them down to the size seen in the rendering (8mm) I then rounded the edges, drilled holes corresponding with those in the prototyped pieces, and coated the “discs” in Polyurethane. Once the polyurethane had dried, I assembled the pieces on a chain, and then threaded three elastic structures in order to make the form curve  in a way that mimicked the spine.

Project 3 (Jay Joo) part 2

April 14, 2011

Casting in bronze, now time to press

i’ll be using hydraulic press (20tons)

every step i annealed copper piece for flexibility

step 1 – using conforming die to make “drape” of face figure

this is after pressing 35 times

step 2 – use both side of conforming die (male & female)

this is after 13 press

TADA!! now i can make face figure within 2 presses

whole presses took me less than 10 minutes including annealing process

i will be bringing other samples to show during our final critique :]

Jiyeon Sur

April 14, 2011



I got inspired by my thesis work, which is a heavy jewellery to convey the issues of sugarcoated conscription in the war as flower camouflaged grenade ring.

It is not everyday wear and hard to carve solid brass into a grenade.

So, contrastly from my thesis work, I attempted to make a light weight jewellery that can be wear everyday.

Print MJM 3-D printed grenade has all details of granade that can’t be acomplished in carving.

It is a flower decorated grenade brooch.

   MJM 3-D printed grenade  



Brass rod to make flowers.  

1. Cut brass rod  in flower shape.  

2. File and clean it with emery  stick.  

 3. high polish it.  


 4. Solder brass flowers on silver wire.  

5. Bend it to shape it.  

6. Put it in tumbler to harden the metal.

  7. Use epoxy to set on the grenade   

8. Pierce out brass sheet

9. Epoxy it on the top of the grenade.



Germaine Fung – Earrings project

April 14, 2011

Part A
In this project, I decided to 3D print the flower by MJM and laser cut the pattern on felt and acrylic.
I’ve prepared all the files and material and brought them to the RP centre.
However, the technician said 0.5mm thickness is too thin and the model will be really fragile.

I have tried many ways to scale it, but none of them works. so I end up redo the whole thing /..\

This is the 3D printing of my flower earrings.

I brought it to the casting house and I asked them to make a cold mold for me.
Usually you need to ask them to keep this in the kiln for longer to make sure the model is completely melt.
However, some of them will not do so and there will be impurites in the cast piece (they may forget or they are just so careless about your work)
So I would rather do wax injection instead of melting the MJM model.

There is a problem with the the cold mold so I returned it to them. I will upload the photo as soon as I get it back :}

Part B
This is the ritual project for my jewellery concept class. I made a collection of snowflakes with tissue paper.
I picked a random one and incorporate that pattern with this project :}

The felt is so soft and I afraid that the shape/pattern will distort easily.
So I tried different ways to make it stiff/thicker.
I asked my friend from fabre and she gave me two suggestions
The first option is to join two pieces together by poking them by a needle..
It is very time consuming and it’s hard to get consistent thickness, so I gave up instantly.

Another option is applying a coating solution to the felt.
but it covered the texture of felt as well.
So I decided to keep it as it is. 

The first time I do laser cut on felt:

The detail cannot be cut on felt because it melts.
but it works really well on acrylic :}

Second try on felt.
The edges are still a little bit burnt, but it is good that it has sealed the edges :}

The thinnest coloured acrylic I got is 4.5mm. I sanded it down to 1.5 mm so that it’s lighter.

Part C – earrings :
I first soldered a 3.5mm tubing and the earring findings on a flat sterling silver sheet.
After finishing all the fabrications, I tube set a 3mm cubic zirconia on it :}

Final product:

Project Two and Three: Final Presentation and Critique

April 14, 2011

Small Object Design wraps up this Thursday, April 14th. We’ll be gathering in Room 554 at 18:00  — slightly earlier and in a different location than usual. I’ll meet you there and we’ll get the room arranged as appropriate. Please be on time.

Remember to bring or upload the following:

  • Your line drawings and renderings, plotted on a total of two 11” x 17” pages (Project Two),
  • Your small object, curated as required for presentation (Project Three), and
  • Any and all blog posts required for both Projects, especially the illustrated explanatory guide to the fabrication procedure of your small object.

In some cases, it may be appropriate to present additional material, either physically or on the blog: sketches, intermediate production steps, previous iterations of the concept, etc. You’ll only have a few minutes to present, however, so please curate your work carefully.

Remember that the drawings should be whatever combination best represents YOUR project and process.

Lastly, please ponder the following questions:

  • What are  some of the advantages and limitations of CAD/CAM technologies?
  • What implications do these technologies have on the future of design practice?
  • How might your own emerging practice incorporate these technologies?

As much as possible, I’m going to frame the critical conversation we’ll be having around these questions.

Some of you have emailed me with last-minute production issues. At this point, all I can advise is that you bring everything you’ve finished, and curate it as best you can. You’ve had plenty of time for this project, and you knew in advance that the RP facility would require a long lead time towards the end of the term. Anything completed after Thursday should be added to the blog as soon as you can.

Jenny D. Project 3!

April 14, 2011

The inspiration for my project came from wanting to create something that could not be done by hand; in that case something that is hollow and its scaled could be played with. This all lead to this design for a pendent that is hollow and contains a exact replica of itself within itself. The cut outs were inspired by how snow flakes are cut out in paper. The form is organic which was what I had intended.

Step 1: I had taken my naked edge free design to the rapid prototyping machine which produced these MJM printouts. The piece shown on the bottom left was a failed print.

Being unsure whether or not this would even cast I stuck to just producing a pendant and did not attempt at creating earrings. I had been warned by Darrell the tech that this may not print or even cast due to its thin walls.

Step 2: Take piece to the casting house. In this case I took it to two, Procast had rejected my piece due to its complexity and Ready Mount was willing to give it a go. Success!!

Step 3: Cut off the Sprue and use file to redefine shape of bottom.

Step 4: There are metal bumps around some of the outlines that require cleaning. This is done by using a tiny file called the escapement file.

Step 5: Using a tiny drill bit in the flex shaft, clean up some of the blocked off holes that did not cast well.

Step 6: Solder on a jump ring prior to chemical or other types of treatments because they will burn off if taken a torch to.

Step 7: Sad news!! I heard that I will not be able to use patina (chemical used to produced an imitated tarnish on metals) on my piece because of the casting skin that is left from the casting process. I will not be able to get inside to the interior replica to remove this skin. I am attempting at depletion gild (drawing out the fine silver in the alloy by heating and quenching several times. This will produce a white finish) my piece here in this photo. This also failed, instead of turning white it turned yellow.

I give up! It looks okay……

Step 8: Here I am polishing my piece with an emery stick. This will make it shiny and removed the striation lines transfered from the MJM printout.

Step 9: Because my piece was successful I had gone back to rhino and redesigned the file to create creditable printouts for earrings. This time I had to take in consideration of thickness of material and what is possible. This resulted in double walling of the existing scale and minimizing cutouts. I created one style where there is nothing but some prominent cutouts taken from the original. The second style is similar to the original but the cutouts is a relief and it is hollow inside and its wall thickness is thicker. These two designs are then scaled down to 4cm in order to create earrings.

Project 3 – Rock N’ Roll Pendant by Joe Lee

April 14, 2011

I made my pendant from Rhino 3D and exported the curves that I need for laser cutting into an illustrator file. After that I dropped the file in the rapid prototyping center. It took me 3 days to pick up my laser cut acrylic pieces. Note that the clear acrylic pieces are on the 24 gauge brass sheet.

Lastly but not the least, a few changes have been made. Instead of using wood from my original model, I will use metals and acrylics for making the pendant.

Step 1

I put the clear acrylic wing on a 24 gauge pice of copper sheet to cut out two copies of wing shapes that will be placed in between the two layers of acrylic wings. The result of cutting the copies of the copper wings will be like the below:

A new pattern to the design is a ace of spade look a like as a inspiration from a song by heavy metal band Motorhead called “Ace of Spades”, alongside with a top half of the double edge sword. Both of them will be overlapping and soldered together in order to create the sense of volume.

Finally, to get the copper color to be black. I put both copper wings and the spade shaped copper into a chemical called “Liver of Sulphur”, which it helps to oxidize the color of the copper in dark color after putting in for a long period of time.

Step 2

The next step of the fabrication is using the hydraulic press to create the a hollow shape of the guitar body. I will use the res square acrylic sheet with guitar shape hole in the center as the tool of creating the hollow form on the brass sheet.

First, I need to heat or anneal the brass with the largest torch in the jewellery studio in order for the metal to be soft.

After the metal is cooled down, the brass sheet is placed on the red square acrylic and they are “sandwiched” between an orange block and a old hockey puck.

I used the level to pump the air on the hydraulic press to press down and putting down the pressure on the brass sheet on the red square acrylic. I had to be careful not to press down too many times or else the the hollow shaps of the brass sheet will break.

After that, I will get the hollow form of the brass sheet from the red square acrylic and then I drew and trace over the guitar shape to be drilled and cut.

Step 3
Another new changes on my design is that I will add a findings on the pendant. I cut out a 18/20 gauge brass sheet into a diamond shape, and I drilled a 1 mm hole for the 1mm diameter brass wire to go in and soldered.

Step 4

Now I have all the pieces and they are ready to be assembled.

I will use a mysterious liquid called “Rez N’ Bond” to bond both metal and acrylic strongly.

Now is time to assemble by bonding the first two acrylic pieces.

Then another…

The bonding goes on…

The final step is rivettng. I will be using 1mm diameter brass wire to fill in those holes around the guitar body and flattenned the end of the wire by hitting with the hammer to create the strong connection. However the riveting with a brass wire was not a good idea because they are too hard to be hammered but I just went on with it anyway.

In the end, I drilled the top pendant for the findings which ended up like this.

The pendant is done after a few clean up to do and it will be ready for Thursday critique.

Project Three: Reality- Leah Chiang

April 13, 2011

So I was inspired to use Rhino and Rapid prototype to cast my hearts as a decorative 3-part chain pendent .

I played with the size to experiment with the weight and versatility of the design.

So i’m just waiting for the casting house to finish with it and i’ll be able to clean it up.

If the design is successful, i’ll be able to make a mold of it. I’m really interested in the way the different sizes will lend itself to creative input.

I can use this design in multiples and see how the repetition adds to the design.


Rapid Prototyped the models. I decided to create an original, chain of three, and various sizes.

This is the original heart

In this process the technician needs to clean the model.

First he freezes the model, then melts off anything that wasnt bonded earlier (waste material), resulting in a wax melt.

When the wax waste material melts off, he then cleans off any leftover residue with dish detergent.

This is an image of the ‘chain’, three pieces combined. You can clearly see the waste material in-between and below the model.

The prototype finished product from digital STL file to an object.

Heres the 3-link chain as well.

Still fragile, I created smaller pieces and a 3-link chain as well.

The little peg you see off to the left is the ‘Sprue’.

If i were to cast this object in silver, i would need to have a tail for the model to connect to the main base.

This base (Sprue Tree)  assists the model to melt out wax and waste material and help in liquid metal during casting.

Before the wax can melt, the whole tree is encased in a cylindrical container and a porous liquid fast-hardening agent called “Investment” is poured in.

This is then air dried and cured in a special kiln.

The container is placed in the kiln upside down to assist the wax to leave the mold, causing the container to hold the cavity that will use the liquid metal.

The silver is then melted and the container is taken out of the kiln and placed in a centerfuge.

This maachine usses gravitational pull and force to assist the liquid metal into the cavity.

The container is placed in water and dissolves, leaving the piece behind in metal.

The piece is then cut off from the base sprue tree.

Cleanup is then involved.

First, the sprue /tail must be cut off and sanded down.

The whole model needs to be sanded and cleaned.

Then the whole metal model is cleaned using various brushes and buffers.

*note More pictures will be added.

Project Two, Part Two Heart; Leah Chiang

April 13, 2011

So for the second project, i decided to create an original design of my heart toggle. This exploration of my design and the process involved in redesigning this toggle enabled me to experiment with the shape and potentially evolve it.

Initially, Here is my orthographic / rendered  Drawings.

And my line drawings.


Here is the image of the originals i was inspired to recreate.

As you can see, they’re attached. Thats why i made it in Rhino.

Plus, i am set out to create the spirley toggels.

Project 3, Part 3: ‘Diatom’ link fabrication – Gregory Phillips

April 13, 2011

First, some parameters. The neckpiece/chain I’m producing will consist of 18 total links, each link approx. 45 mm long for a total combined length of ~28-30 inches. Each link consists of two halves: these will be riveted together using 2 mm tubing, eliminating the need for solder and allowing all finishing to be done prior to assembly. One link ‘traps’ the other with the ‘female’ unit forming a sort of open cage, and the ‘male’ unit being just large enough to remain inside this cage, affecting high flexibility. (At least, that’s the plan.) The links are to be cast in sterling silver, for a combined total weight of approx. 230 grams. There will be no clasp; rather, the length of the piece allows it to drape over the wearer’s shoulders, similar to medieval chains of office.

Step one: Moldmaking

Originally, I had planned to have cold (silicone) molds made from both RP’d model units, thus skipping an intermediate step and increasing the dimensional accuracy of the final reproductions (via wax injection). Due to a tragic accident, one of the two models was damaged beyond repair- so I was forced to have it cast in sterling before manually bisecting the model, as well as drilling pilot holes as needed. This means the final master model for the second link unit differs from what was presented in the project PDF, although the assembled unit will be more or less the same. Below is an image of the first cold mold and the associated MJM-printed model:

Step two: Clean-up

As of writing, all links from the above mold have been cast. As one of the goals of my project was to reduce labour, thus making the piece more suited for a production rather than one-off approach, this is where mass finishing techniques are important. I used a combination of separating discs, heatless mizzy wheels, and coarse grit radial bristle discs to remove and blend sprues (the nubs of metal left over from the casting process) and to remove the casting skin as a pre-finishing step. These are all rotary tools used with a flex shaft:

And here is a quick shot of the 18 units (each paired to create one link, so representing nine complete links) after sprue removal/blending but before casting skin removal (the chalky white coating). Also on the far right is the half of the second unit that was NOT used to make the second mold. I should have the 18 pieces produced from this second mold by Wednesday afternoon, giving me a fairly tight window to work. Each unit also has pilot drill holes that need to be re-drilled, as in the model they were purposefully made slightly smaller than the desired final diameter.

Step three: Finishing

There’s only so much a handpiece can do, so final finishing will employ a Foredom table-mounted polishing lathe and large, souped-up versions of the radial bristle disks used for pre-finishing. I intend to leave the pieces at a medium matte finish (~300-400 grit? We’ll see) and finish the links off by light buffing with a combination cutting/polishing compound, such as Dialux. This should impart a bright shine to the edges of the links while maintaining the matte finish in the lower (troughs and valleys) parts of the links. Should be a pleasant contrast. Note: I could also use a tumbler rather than go through the graded grits of bristle discs, but I admit to being skeptical of OCAD’s tumbler and tumbling media, not having ever used them before. Better safe than sorry.

Step four: Assembly

After all finishing is complete, it’s time to assemble the links. The second (not yet pictured) series of links will be assembled first, and as with the first set this will be done by using tube rivets. The tubing will be pre-cut to uniform lengths, and from there it should be a simple matter of inserting the tubing through the mated pairs and using a centre punch with a mallet to gently flare the ends of the tubing, securing the links together. (Tube rivets allow for a secure cold connection without the same brute force required for a conventional wire rivet.) I decided to err on the side of caution and purchased seamless (extruded), heavy-walled tubing for this application. Soldered tubing would invite the danger of the tube walls splitting at the seam.

I’ll endeavour to update this post as soon as I’m able.

Project 3, The Hollowed Bangle

April 12, 2011

This is the final out come of the bangle. It is successfully printed from MJM printer using high resolution.

Since my final outcome is a casted bangle, I spurred it so metal can successfully flow into the female investment cast mode. The top part bicycle shape spur is crucial as the molten metal may not flow far enough from the bottom spur to reach the top.

The following steps are done by the casting house, breaks down as follows:

The caster will find a flask that fits this bangle, spur this bangle into the flask and pour mixed investment into it. The investment cures in about 1 hour and further cures in at least 6 hours. Then the caster will put this flask that contains the bangle and the cured investment into the kiln and fire it so that the wax model can be burnt out of the investment mode, forming a female cast mode. the caster will usually wait till at least the next morning in order to let the wax completely burn out and then take out to inject melting precious metal (in this case sterling silver) into the mode and forming the cast.

And here is the finished casting piece. At this point, I’ve already did a rough cleaning and also soldered my stone setting tubes onto the bangle already. The reason that I did not render this part in rhino is because that tube setting has strict requirements to the metal tube. The wall thickness need to be consistent and need to be fairly thin. Therefore, it is better soldered than being cast from the mode.

I also pressed down the tube set parts of the bangle to make it more interesting looking. I designed the pattern so that it has less connection joints at certain area and allows it to be pressed inwards.

After the final polishing, the hollowed bangle is done!

Project 2 Rhino Report

April 12, 2011

Project Three: Homa Esmaili

April 7, 2011

here is the printed(High resolution) ring..

There are two rings, one didnt come out right b/c its too thin and tiny… 0.5m also they had some problem with the machine…

the second time the ring came out right( almost)

Im expecting the casted  ring By tomorrow(April 08).

I told them the ring is too fragile and they need to be careful, but they said there is no guarantee .

So keep you fingers cross for me

Finally the casted ring:

my first attempt to cast this ring was unsuccessful. there where too many parts that was a chunk of silver, instead of connected wire.  its because  air bubbles got trapped in between the wires and when this happens, the melted siler flows there.

after tryng it for the second time , i got this far..

one of the wires look broken. its not…

the silver didnt flow there in casting process. reason : the wire is too thin(0.5m).

the surface of the ring is white. this is normal. i just need to polish it


after that i put the ring in the tumbler so it get its shine . tumbler harden the metal too.

i left the ring in the tumbler for 30min

I set a stone (6.5 m)

it is comfortable, although i thought it might not.and it also fits my finger.

it shows the expansion or shrinkage wasnt that much in the casting process

now i can compare the cufflinks i made by hand with the ring that i used rhino.

both have truss structure. both are silver.

the hand made one is larger because its impossible to make them smaller. i would melt while soldering

well of course it has the qualities and value of a hand made craft. also the wires have no texture .

however the rhino ring has the printed texture on the wires. which i cant get rid of. because the wire is already too thin that if i try to file or emery it i will lose everything.

at the same time rhino allows me to design and create such a ring that has detailed truss structure without any risk of melting anything

Jenny Duong: Project 1

April 5, 2011

Project 2, Part 2: Gregory Phillips

March 31, 2011

Project 3: Jay (step 1)

March 29, 2011



yay! it worked!!
came out of FDM machine today, and everything worked fine!!
this ‘shell’ was constructed with 2mm thickness all the way,
step 2 will be sand casting with these models (this weekend)
hopefully ill have bronze version of these by next monday :]

Germaine Fung – Project 2 – updated :}

March 27, 2011

Projet One: Leah Chiang

March 24, 2011

Below is my drawings for Project One.

Orthographic Line Drawings

Isometric Line Drawings

Project 2 – Dia Jiao & Daniel Kim

March 24, 2011

Book Cover design exploration using the Laser Cutter, CNC, and 3D printer. For each book cover we would like to explore the different ways graphics can be used for the front cover of a book. Dia and I are both in Graphic Design, and we are very interested on exploring new ways of implementing graphics using the RP centre.

We came up with a pseudo brand name called SOD “Small Objects Design” to show a collection of three different book covers using the various RP methods. We came up with renderings that features different structures based on our assumption of what each machine can do. For example the ‘laser etched book cover’ has intricate lines to it’s graphics that forms the letters of SOD. The book cover rendered for 3D printing, has solid structures with interesting shapes which then can be placed onto a book cover. And the third book cover can have curves and arcs, if it is possible to produce with the CNC milling machine.

Take a look!

The height and width of each book.

A rendering of a laser etched book cover

A rendering of  a CNC book cover

A rendering of a book cover with 3D printed material embedded into the book cover


March 24, 2011

It’s a ring about conscription.

I will 3d print and cast grenade into bronze .

Pin of the grenade will be a ring.

A grenade can be set on the ring or detatched

Project Two: Homa Esmaili

March 24, 2011

Orthographic Drawings:

Isometric /Rendering Drawings

(Photoshop) photo of the rendered ring worn:

What i think i need to do is to 3d print it out of the material that can burn in the casting process.

after i cast the piece (HOPEFULLY), i need to file, and polish the piece. after all of thesurface finishing,  a round brilliant-cut stone needs to be set on the ring

It is extremely difficult (almost impossible) to solder R0.5m and R0.6m wire together in a 3d form without melting the piece.

I hope this method allow me to expand my design which has architectural aesthetic.

this ring looks simple but it is NOT.



Jenny Duong’s Project 2

March 23, 2011

Project Two: Tara Paashuis

March 23, 2011


Last term I made a slip cast bowl for Domestic Ceramics.  In terms of process, we were required to sculpt by hand the void that the bowl would create, being careful to have no undercuts.  The clay form would then be used for a plaster mold.  The bowl also had to be part of a multiple that created an overall shape when fitted together (in my case, a series of three bowls).  The form I ended up creating, as a result of the technical limitations and project requirements, resulted from a desire to have something that felt ’round’ and nestled nicely in the hand.  I did not happen to have a ruler on me when starting this process, so I ended up folding pieces of paper to work out the geometry and act as an edge template – hence the origami name.

I very much wanted this bowl to have slight wobble (be round!) and be able to balance on more than one bottom.  This did not happen, which is why I would like to find out if modeling it in Rhino might produce better results.  Rhino might also permit surface details that would be very time consuming to sculpt by hand.

To fabricate the virtual model, I would like to explore options for 3D printing (or perhaps CNC?), then making either a one-part or two-part mold to then slip cast in porcelain.


(please click through for higher resolution images)

In terms of process, in Rhino I created 3 “golden ratio” rectangles from which to draw my geometric shape.  The result is an icosohedron that is composed of 20 equilateral triangles.  Then, I sliced the geometric shape in half.  To accommodate the slip casting process, the largest element must be the rim of the bowl, so it was necessary to bump out 2 sides.

I really needed to get started on printing my .stl file, as the kiln firing schedule in the ceramics studio is limited.  So here it is, $41 on the low-resolution printer:

Project 2 – Joe Lee – Rock N’ Roll Pendant

March 21, 2011

Here is my revised proposal for this project.

The theme of Rock and roll and guitar have been my inspiration and also my signature style in most of my jewellery works.

For this project, I would like to create a jewellery pendant based on Rock and roll and the pendant will have an edgy look, and incorporating certain and maybe rock and roll elements like skulls, wings, guitar, flames, spikes, sign of the horn, roses, guns, swords, stars, and metal studs.

For this project, I am also exploring to use of non traditional technique like laser cutting as well of combining of traditional technique while I am exploring the use of other different materials for this project as well. Most probably they are acrylics, woods and some metals.

For the technique, I will be using most of the laser cutting for the shape of the guitar however one of a hollowed guitar shape can be used in a hydraulic press in the jewellery studio to create a dome guitar shape on the brass which I will manually saw-cutting the brass sheet into the guitar shape and it will be used as part of the pendant. The process of assembling, I will be using cold joining like riveting with wire, epoxy & rez n’ bond.

Germaine Fung – Project 2 proposal

March 18, 2011

Rose window is one of the biggest inspirations for many of my works. I am going to use a lot of these symmetrical patterns in my thesis work as well.
For the flat image, it is not impossible to pierce these pattern on metal , but it does take a long time to make precise measurement  and keep the edges clean.
It is even harder for me to make it into dome shape or hollow form.
So I decided to create these pattern by Rhino to eliminate that problem.

In this project, I am going to construct a wire/hollow structure inspired by the rose window.
It can be made into earrings or a ring.
There will be a stone set in the centre of the form.
The decorative part will be laser cut on either felt or plexi glass because I want to do  experiment on different material as well.

project 2: proposal Dia Jiao

March 17, 2011

Proposal 1

A book organizer that keeps the book standing on either one or both sides. To relate this project to my graphic design discipline, I want to incorporate elements of design such as typography and deconstruct the structures of type to create a dynamic form that can be both fun and useful. These images are an example of how typography can be translated into three dimensional form by tools such as laser cutting and 3D printing devices. My object would either include interlocking letters that are created by 3D printing, or assembled laser cut letters that are cut out from a two dimensional sheet of material.

Proposal 2

Design a book cover for an architectural book. The book cover would be either laser cut or 3D printed with a rich texture that reflects the the content of the book. If the book cover were to be laser cut, there could be a series of cut materials stacked up to create a complex pattern, or if it were to be 3D printed, the book cover would have a raised texture effect for a textile feel in order to engage the readers. This allows the book to not only be perceived as a volume of knowledge, but also a sculpture.

ELAINE – PROJECT II: Proposal 2 – angular retail display

March 17, 2011

I would like to explore ways to articulate complex forms in what would become a system of display units for a retail store. Although i have some hand sketches, I find it difficult to visualise the complex angles and edges generated by shifting geometries. These images are reference material from which I hope to develop the form of the display units. Because the edges of my intended design are somewhere between soft and filleted (as found when water erodes surfaces) and distinctly angular (as in subtle angle shift from surface to surface) I think Rhino and the CAM production would be beneficial in realising this design.

ELAINE PROJECT II: propoasal 1

March 17, 2011

I would like to modify and improve on this metal design.

The initial concept was a shelter design based on existing canopies found in nature (in this case a leaf). The metal production process  determined the abstracted profile that emerged. Complications in geometry for the canopy membrane resulted in an unresolved end product. There are some gaps between the cladding – the canopy is not air tight and wouldn’t be effective as a form of shelter. In the end the project became more of an art piece (or glorified necklace hanger) than my initial intent. I was also unhappy with the stem’s profile. An angled posture (as if succumbing to the earths gravitational pull) would have made the project more dynamic. Lastly, the joining process of the canopy sheets (via spot welding) detracted from the overall form. These are some of the problems I would like to address in project two. Perhaps the CAD/ CAM process might present more possibilities for enhancing the form as well as function.

Germaine Fung – Combination Square

March 17, 2011

Project2: proposal (Jay Joo)

March 15, 2011

I took this course just to build myself a forming die (finally itll happen!) this piece was done by metal forming and chasing last year(basically hammering). since i was working from sheet of metal, making one 3 dimensional face took me more than a week (shaping alone) and i couldn’t build another one just to play with different shapes(too much work!!). so i found this method of hydraulic press forming  and i believe if i could make accurate forming dies with rhino i can produce exact copy everytime, and it will provide me perfect default canvas to play around 🙂 so my plan is 3D scan a head figure and contour face curves and  make male / female dies with face figure inside. ill be using 3D scanning machine/ CNC machine to make this work. material will be out of high dense plastic (delrin) or cast in bronze with wax model very excited with this project :]

March 12, 2011

ELAINE HACKSAW-FINAL 2 artboards_reduced –

Project 2: Proposal

March 10, 2011

In this project, I would like to make hollowed jewelry that cannot be made or it’s very hard to be produced via traditional goldsmith technique. I was greatly influenced and inspired by the Marrakesh line that Paloma Picasso designed for Tiffany & Co., at the same time, I am also drawn to the traditional Chinese architecture and fell in love with the intricate structure such as dougong, caisson and many traditional Chinese wooden architecture components. Therefore, I would like to build a hollowed octagon bangle with traditional Chinese architecture elements and design spots to allow stones to be set. Then I would like to print the bangle with RP technique and cast in one of the precious metals. I would also like to set stones (preferably diamonds or diamond substitutes) and high polish it. This will be an experiment of my thesis topic, which is Chinese wooden structure and jewelry, and an experiment of the technique of RP 3D printing, which will be applied towards my thesis fabrication

Jenny Duong’s Project 2: Proposal

March 10, 2011

Hey everyone,

After visiting the 3D printing shop, I have decided that I want to focus on creating  jewellery items that cannot be done by hand.

I want to first use Rhino to model and create a set of decorative hollow forms that otherwise is impossible to carve in wax. Using the technological advantages of Rhino, I then want to take this computer generated hollow form and play with its scale. Like Matryoshka dolls (the hollow wooden dolls that fit into one another) I will fit scaled down versions of the original within itself. This is impossible to produce in wax, no tool will allow you to carve hollow objects within each other; especially not in great detail.

I will then print this form into plastic that will burn out of an investment mold. Allowing me to cast this form into metal, preferably in sterling silver. This form will then become an exquisite pendant and if scaled down again and duplicated by two can become earrings. Depending on time and price I will try to create a set (earrings and pendant).  Problems that I might come across is where to place a sprue that will connect more than one hollow form, and how to remove the interior sprue and if that one sprue will be sufficient enough to fill both forms. Here is an example of a decorative hollow form i want to create.

Project 2 Part 1: Daniel Kim

March 10, 2011

For project 2 I’d like to propose two fields in design that I am interested in.

1. The first field of interest is in printmaking. From my experience it seems that in order to have a custom design on a plate, you would need to make polymer plates which is available at school, or have metal plates made by a manufacturer that makes them. What if you can produce your own plates with your own design without depending on other manufacturers?

I’ve produced a polymer plate before, however your very limited to the size, due to the size of the machine that exposes the plate.

If it is possible, I would like to make this project into a viable method for producing large custom made plates that I can use for the letterpress. For example on “For Print Only” they were able to produce a large polymer plate to make high quality poster prints. I am wondering if making plates using the RP center, would allow a viable solution to this challenge.

2. I’ve also been thinking of producing collectable items for quite a while. I’m interested in Guerilla Entrepreneurship and was thinking of creating small collectable products. I had a toy character in mind or an item for example a classy old record player that can be used as an award for a music event. At the end of the day, it would be something that would look nice on a shelf.

Project 2: Gillian van Santen

March 10, 2011

Vertebrae Back piece

Last semester I began working on a piece that attempted to “deconstruct ornament” and traditional perceptions about body adornment. I intended to mimic the body in a non-conventional way, inspired by the works of Gerd Rothman, a German Jeweller and Metalsmith, and Gijs Bakker, a Dutch Designer. The piece itself was intended to be a neck/back piece that hung all the way down the back and mimicked how the spine moves. I used over 80cm of handmade 3-row chainmail (100ft of s/s wire!) double backed and tapered at the ends, with structural cross bars connecting the two sides of mail for more controlled movement.

Unfortunately, this piece was never finished (because of obvious time constraints) but is something I have been wanting to return to, the final piece I had establish though, wasn’t exactly as i had intended: the chainmail moved far too fluidly, and not in the linear path i had imagined – even with the crossbars. also, the weight and direction of the mail caused the piece to sag and twist in a way that made seem as if it was a strain on the body and not the replication I had wanted.

So, for Project 2/Project 3  would like to re-make this piece with more mechanical and anatomical accuracy by creating rapid-prototyped ‘joints’ to then be cast* and connected.

*depending on the price, may just make the prototype.

Project 1: Vise Grip – Daniel Kim

March 10, 2011

3-D Printing

March 10, 2011

What it is. . .

3-D printing (3DP for short) is an additive manufacturing technology where a three dimensional object is created by the successive layering and bonding of material. There are many different systems, employing many different processes and materials, including:

Things to think about. . .

  • What’s the volume of the printing bed? 9″ x 9″ x 9″ is typical in research facilities; many volumes are available in industry (e.g. D-Shape)
  • What’s the minimum allowable thickness of the material?
  • If your object is hollow (a typical cost-saving strategy), does it require evacuation holes to permit unused material to escape? How big do these holes need to be?
  • Does the printing material require treatment after the fact? For example, starch powder-binder printed models are usually sealed with cyanoacrylate.
  • Does the printing method create support material (e.g. FDM “scaffolding”)? If so, how is the support material removed? Possibilities include a sonic bath (FDM), an oven (MJM), a solvent tank , elbow grease. . .

  • What is the resolution of the printing method? (The resolution of OCAD’s MJM machine is 0.025mm — Rhino’s default Export > STL setting is 0.01mm). What sort of texture does this resolution create? If necessary, how can this texture be removed? If not, how can this texture be oriented relative to your object?

To 3-D Print . . .

  • Provide a closed (“watertight”) polygon mesh object, usually as an STL file. Single surfaces or objects made of surfaces with gaps or holes will not 3-D print. Click here to download a detailed guide to preparing files for 3-D printing (my apologies for the atrocious grammar and graphics).
  • Ensure that all normals are pointed outwards (this is normally always true with closed objects).
  • Ensure that the object is scaled to the correct size.
  • The machine will follow the polygons exactly: turn on “flat shading” in your modeling program to see how the object will look.
  • The minimum thickness of any unsupported element should be no smaller than the suggested minimum. Ranges from 0.1mm to 3mm, depending on the process: check with your provider.

CNC Milling

March 10, 2011

What it is. . .

CNC Milling machines use a computer to controlling a rotating cutter mounted on a moving head to subtract material from any substrate (the stock). Typically this is restricted to three axes (X, Y and Z); four, five and six axis machines exist in industry. Output is adjusted via the translational speeds of the milling head (the feed rates), the rotational speeds of the cutter (the speeds) and the type of cutter installed (the mill).

CNC Milling is a very broad topic, so the thoughts and tips below are only an introduction, and are generally specific to OCAD’s Techno-Isel 3-Axis CNC Router.

Things to think about. . .

  • What’s the area of the cutting bed? OCAD’s is 4′ x 4′; 5′ x 10′ or larger is available industry. It’s also possible to move the material instead of or in addition to the milling head.
  • What’s the maximum allowable height of the stock? This dimension varies depending on the mill being used.
  • What are the limitations on feed rates, speeds, and mill types, and what are the implications of these limitations?
  • What mills are available? What final finish do they create? Does the job require multiple mills? Multiple passes?

To CNC Mill. . .

  • Provide an STL file. For the purposes of CNC machining, this file does not necessarily need to be watertight. The file should include a model of your stock, and a model of your job, arranged such that the stock fully engulfs your job.

Laser Cutting

March 10, 2011

What it is. . .

Laser cutters use a laser (typically a CO2 laser) to cut or etch sheet material. Typically this is restricted to two axes (X and Y), with limited control over the third axis (Z) by modulating the intensity of the laser beam. Three axis and even six axis machines exist in industry. Laser cutters can be set up to interpret both vector and raster data; output is adjusted via the speed of the laser head and the intensity of the laser beam.

Things to think about. . .

  • What’s the area of the cutting bed? 18″ x 36″ is typical in research facilities; 4′ x 8′ or larger is available industry. It’s also possible to move the material instead of or in addition to the milling head.
  • What’s the maximum allowable thickness of the material? 3/8″ is typical in research facilities; 1″ or more is available in industry.
  • If cutting, what will happen to the edges of the material? Will they burn (e.g. wood) or melt (e.g. acrylic)? Will the burning or melting affect the surface of the material?
  • If etching, what will the final finish be like? Will it be burned or melted? Can sharp lines be maintained, or are details degraded?
  • Is the resultant off-gassing noxious or carcinogenic?
  • How can the object be resolved into flat parts and re-assembled? Two possible strategies include stacked-and-pinned parts, and interlocking frame parts.
  • What are the implications of the laser kerf (thickness and angle)? The laser is focused on a particular elevation (Z-dimension): the thicker the material, the more out-of-focus the laser, and the less perpendicular the cut will be to the surface.
  • What advantages/disadvantages does laser cutting have over comparable processes, e.g. water-jet, plasma cutting, flame cutting, die cutting? Things to consider: accuracy, speed, set-up cost, unit cost, implications of heat-affected zone. Click here for a comparison of these technologies as applied to metal.

To Laser Cut. . .

  • Provide a vector file (for cutting or etching) or a bitmap file (for etching). Vector files include .pdf, .dxf, .dwg, .ai — check with your provider.
  • Provide only the information required for cutting or etching.
  • Place all vectors on appropriate layers, e.g. one for cutting, one for etching.
  • Ensure that all information is 2-D, i.e. has no Z-dimension. (In Rhino, run the Project2CPlane command)
  • Ensure that the object is scaled to the correct size.
  • Ensure that all part outlines are closed.
  • Ensure that there is no duplicate or overlapping information.
  • Arrange the information in a rectangle that is the same dimensions as your material (and is smaller than the cutting bed)
  • Arrange the information so that different cutting jobs are easily distinguishable, either as separate files or as clearly labelled rectangles in a single file.

project two-JIYEON SUR

March 9, 2011


I want to create a jewellery which is not everyday wear. It is about conscription and I will make heavy jewellery to convey that.

It critics about violence and the message is innocent victims of war.

My artwork tells sad story about victims of the world wars in the past.

Innocent people were maltreated, conscripted and trained to be suicide bombs or murderers against their wills.

Ironically, people were brainwashed by military to accept deaths as Honourable death in wars seems likes a graceful way to die.

The people, however, were only being used for the sole purpose of winning a war.


I inspired by military camouflage. 

The purpose of camouflage in military is to confuse an observer as to disturb an outline by blending it with the surroundings or making a target difficult to spot.

Just like military camouflage, I want to create it as confuse and difficult to spot the weaponry to viewers.

When viewers come closer to see details, the disguised grenade will show so they will realize and spot it. I concealed the ugly truth inside of my artworks and on the surface as decorative jewelleries to express how false of the war history is sugarcoated.


 –Expression of conscription: make a grenade by heavy metal into solid forms (bronze).

So wearer could feel the constraint and heaviness as how conscription held innocent lives’ freedom and will.

And I will use non-precious hard metal (impure alloy) bronze to represent symbol of impurity, tainted conscience and brutal murderer.

Expression of purity of innocent lives by using soft precious metal (pure alloy): silver to represent their precious value of lives and purity.

Also I will use soft metal to express how innocent victims were weak and fragile.



Project One: Dia Jie Jiao

March 5, 2011





March 3, 2011



March 3, 2011

Hello My name is Germaine and I am major in jewellery.
This course interests me a lot because I want to  learn different ways to make jewellery.
I have not taken any computer class since I am kind of excited (and nervous) about this class.

Project Two, Part One: Leah Chiang

March 3, 2011

Winding Heart Bracelet.

For this second assignment, I would want to recreate my original heart-shaped hand-made jewellery toggle. My intent on creating this piece was intended for valentines day. I found this heart-shape as a universal design to be most favorable for this occasion as well as many others. With Rhino, I plan to reproduce this design and produce a multitude of them. If I were to reproduce this piece through a jeweler’s conventional methods, a lot of time would be spent on creating copies and cleanup. In most cases, the amount of re-creation and cleanup would change the original design. The piece itself is attached to a necklace so detaching it to make a copy would require taking the whole piece apart.

Initially, I would utilize rhino to easily see and add details that would be difficult or impossible eyeballing the design with a loupe. Also, the design process of creating the piece in rhino would eliminate any issues and problems that I had experienced when I was building the piece.

In essence, i would utilize this design to make many more copies and utilize it in my art practice.

Leah Chiang

Project one:Homa Esmaili

March 3, 2011

Inroduction: Jay Joo

March 3, 2011

hello my name is Jay Joo

and im a jewellery student (4th year)

i would love to learn how to make dye forms by rhino

since i can make much accurate dye forms

im very glad to join this class

hope we have great time!!

Project One: Gregory Phillips

March 3, 2011

Project one: Gillian van Santen

March 3, 2011

Project Two, Part One: Gregory Phillips

March 3, 2011


Detail of link

Detail, clasp

Above is a neckpiece I created in 2009, cast in sterling. The vegetal-skeletal motif was inspired by natural forms and the mechanical nature of the link connections is based on the ball & socket joint, as found in the human body. The clasp is a hinged hook, akin to a clothespin or crab’s claw. The piece is heavy (300+ grams) but because of its hyperflexibility, it easily assumes a comfortable position on the wearer’s shoulders.

While I did use vector graphics to help plan the layout and proportions of the individual links, it was (at the time) easier to hand-carve the models in wax rather than try to mill them out via CNC. I would like to revisit this piece in light of Rhino’s powerful modelling aids. I don’t propose to remake the piece, but rather take the same unit-based approach and mechanical-meets-biological, rigid-yet-fluid theme. Ideally the units themselves would be much more economical to mass produce; the original piece was cast from four different molds (with no mold made for the clasp!) and cleanup and assembly was a challenge.

Project two:homa esmaili

March 3, 2011

originally i was going to make my Seahorse ring again with changes, but making that piece wasnt as difficult and limited-choice as this piece.

this piece is one of the four pieces i fabricated for my thesis work.iits 9x4x4 cm.  I had difficulty in making each and every single part of it. the sphere on the left has two different layers and was supposed to have the same structure of Buckminster Fuller’s dome. It does, but not accurate and it is hell to solder little pieces in two different layers that also is linked together.

soldering 4mm  silver wire ,one by one  ,I made the sphere and the tower with the “SEMI” truss structure. this piece is not wearable and i love to make a wearable piece that includes these structures and construction aesthetic.(which is my favorite.

Project One: Tara Paashuis

March 3, 2011


There were certainly some snags, but here is as far as I can get for now! (please click through for larger versions)

1. isometric and rendered drawings

2. detailed orthographic drawings

Project 1 – Joe Lee – Groove Joint Plier

March 3, 2011

Joe Han Lee Project One

Project 2 Part One – My Small Object Proposal – The Drum Ring by Joe Lee

March 3, 2011

Project 2 Part One – The Drum Ring by Joe Lee

My small object that I want to remake is a drum ring that I made for the ring project in the intro jewellery class.

The reason that I wanted to remake my ring is that because by using Rhino 3D, I could challenged myself to modify my first masterpiece and the design of the ring to make it look more sophisticated.

The steps of remaking the ring would be modeling in 3D in Rhino, Rapid Prototyping in 3D printing, and maybe CNC and laser cutting, then it will either be casting or fabricated.

My original drum ring would something like the 3D modeled version that I posted in my introduction.


March 2, 2011

Hi, I’m doing thesis  in jewellery design. I don’t know much about 3-D programing. It is a great opportunity for me to learn how to render,modeling and I want to use it for jewellery making purpose.

Introduction: Gregory Phillips

March 2, 2011

I’m a jewellery major technically in my fourth year: I graduated from George Brown’s three-year Jewellery Arts program in 2009 and was given advanced standing at OCAD, though I’ve delayed my thesis until next year. I seem to be part of a trend among young jewellers in my enthusiastic acceptance and integration of CAD/CAM into my practice. I don’t see a conflict between traditional techniques and the possibilities offered by CNC and digital modelling. Rather, I believe the two approaches continue to inform each other.

I’ve been using CAD/CAM since ca. 2006, having had the opportunity to learn Delcam’s ArtCAM software while at GBC. It’s a very different beast compared to Rhino and lacks the same industry penetration; yet both programs have their strengths. While at GBC I also learned to program and operate CNC milling machines. The hands-off position we’re forced to assume with OCAD’s RP centre has taken some getting used to. That said, I’m excited to learn Rhino and explore the wider latitudes afforded by the software’s flexibility and by OCAD’s low-cost MJM printing service.

Cast from RP model


Cast from CNC wax w/ silicone

Cufflinks rendering, w/ fractal motif

Project 1: Caliper – Christopher DeBoer

March 1, 2011

Projects Two and Three

February 17, 2011

Click here to download Project Two: Personal Object: Virtual to . . .

Click here to download Project Three: Personal Object: . . . Reality

Project One: Evaluation

February 17, 2011

Project One is evaluated as follows.

First, I take a look at the Rhino 3-D model. I look for adequate and accurate detail of all external and (where possible) internal parts, arranged in a well-organized system of layers. Since the model must be watertight, i.e. it must be constructed entirely of valid closed polysurfaces, I perform the following set of analyses:

  • Turn off all 2D layers (all 2D geometry should disappear)
  • SelBadObjects (nothing should be selected)
  • SelClosedSurfaces, SelClosedPolysurfaces, Hide (all 3-D geometry should disappear, and nothing should remain)

Next, I take a look at the STL file. If the 3DM was watertight, then I don’t expect any problems, but I perform the following analysis regardless:

  • Set to Rendered View
  • SelOpenMesh (nothing should be selected)

I also check to make sure the tessellation is suitable for 3D printing. Note that Rhino’s default Export > STL settings are generally suitably accurate.

The drawings and renderings are to be plotted on two 11″ x 17″ pages, and uploaded to the blog as a single PDF. In the drawings, I’m looking for:

  • Appropriate lineweights applied to appropriate lines (Make2D is limited: you should be filling in gaps as necessary)
  • Correct layer order, such that the heaviest lineweight lies on top
  • Appropriately assigned and composed dimensions
  • A correct selection of orthographic views and a correctly established isometric view

In the rendering, I’m looking for:

  • No blown-out highlights or underexposed shadows: basically, no pure black or pure white
  • Reasonable colour selections for different parts of the object (materials are encouraged but not required)
  • Object-appropriate lighting (generally from above)

Good luck on Project One!

Project One: Tips and Tricks

February 17, 2011

On creating an accurate free-form 3-D NURBS model. . .

A good Rhino 3-D model:

  • Includes all necessary details up to but not including surface texture
  • Makes use of labelled layers to distinguish between different components
  • Is constructed entirely of valid closed polysurfaces that correspond to the different components
  • Contains only coplanar components, not overlapping components
  • Contains no naked edges (Analyze > Edge Tools > Show Edges)
  • Contains no invalid or bad objects (Analyze > Diagnostics > Check)

Typically, you will model all components of your object several times before you get it right. Strive for a minimum number of surfaces, and employ additive methods over subtractive methods wherever possible. Take breaks, drink water, and get enough sleep.

On creating a dimensioned orthographic line drawing. . .

Click here to download selected excerpts from Francis Ching’s Design Drawing, which reviews technical drawing conventions.

You are not draftspeople; you are not expected to generate technically perfect dimensioned drawings. Still, you need to be able to communicate your designs to the technical experts who will help you fabricate them. A reasonable set of dimensioned orthographic drawings:

  • Includes only those views that are necessary (typically Top, Front and Right)
  • Is dimensioned to an appropriate level of accuracy
  • Does not include any duplicate dimensions
  • Does not include any dimensions that overlap on the same side

To generate the basis for a set of 2-D drawings, use the Make2D command, selecting 4 View (USA), Show hidden lines and Maintain source layers. Note that the fourth view is whatever arbitrary position your Perspective viewport is set to. Create an isometric view instead (see below).

On creating an isometric line drawing. . .

The isometric view is the least visually distorted of the axonometric projections, and is commonly employed in the representation of small objects. The isometric angle of view is approximately 35 degrees above the ground plane.

In order to create an Isometric viewport (to use in place of the Perspective viewport when generating 2-D information):

  • Create the geometry required to align the camera and target with the correct angle of view (see — or better yet, steal from — the sample Project One).
  • Right-click on the Perspective viewport window and select Viewport Properties; select Parallel Projection, and Place the camera and target
  • Right-click on the Perspective viewport window again and select Set Views, Named Views and save the view as Isometric
  • Be careful to reset your Isometric viewport before outputting your rendering or 2-D information via the Make2D command.

On enhancing a line drawing using Illustrator. . .

Adjusting the appearance of your 2-D information in Rhino is awkward at best. A better choice is to export your 2-D information as an AI file (File > Export Selected > Adobe Illustrator). Advanced Illustrator techniques are beyond the scope of this course — but you’ll need to know the following to get through Project One:

  • When exporting your 2-D information, select “Snapshot of current view,” unless you need to make scaled drawings (for Project One, you don’t).
  • When you first open your exported 2-D information, you’ll need to set up your Artboards (Document Setup > Edit Artboards). Make two 11″ x 17″ sheets, landscape format.
  • You’ll need to scale your 2-D information using the Selection Tool. Hold down Shift to constrain the proportions of your lines.
  • Next, you’ll need to adjust the line weights and colours. Note that the Illustrator maintains whatever layers you set up in Rhino. To select all of the objects in a layer, click beside the circle in the Layers pane, and a box will appear. Change the layer’s Stroke and Colour as appropriate. Check the sample Project One for suggested line weights and colours. Note that the layer order determines which lines are on top. If you cut-and-paste in Illustrator, make sure “Paste Remembers Layers” is selected, otherwise you’ll lose the layers you created in Rhino.
  • Chances are your dimension text doesn’t look right. Select one and then all of your text elements (Select > Same > Appearance), and adjust themas you see fit.
  • Don’t forget to insert your rendering (File > Place). Embed the image into your Illustrator file.
  • Print to PDF to generate the file required for both your printing and linking. Export to JPEG to generate the files required for viewing on the blog.

On creating a rendering using Rhino Render. . .

Just as in a photography studio, a good rule of thumb is to use the minimum number of lights that ensures that all visible surfaces render neither pure white nor pure black. A typical initial setup includes two spotlights 90 to 120 degrees apart pointed 45 to 60 degrees down towards the object (see — or better yet, steal from — the sample Project One). Adjust the intensity of these lights via Properties. Under Render Properties, make sure you have an appropriate Resolution setting, and consider using a Transparent background in order to facilitate a clean layout (File > Save As > PNG).

On enhancing the rendering using Photoshop. . .

Photoshop is an essential tool for most high-impact renderings. At the very least, use Photoshop to make adjustments to the tonality, saturation and contrast of your rendering. Photoshop is also where you’ll typically add context, people and sometimes texture. Advanced Photoshop techniques are beyond the scope of this course.

On outputting a file for 3-D printing. . .

The correct filetype for most 3-D printing applications is the STL file (File > Export Selected > Stereolithography). The default STL settings are appropriate for most small objects. If your file is unwieldy, try increasing the tolerance setting to generate less polygons; if you require a great deal of precision, try decreasing the tolerance setting to generate more polygons.

In order to successfully print, your STL must be watertight, which typically requires a watertight 3DM constructed entirely of valid closed surfaces or polysurfaces. Open your exported STL, and double check that your mesh is contains no naked edges (Analyze > Edge Tools > Show Edges). Repair any naked edges as necessary (FillMeshHoles).

Project One: Jesse Colin Jackson

February 17, 2011

Below is a sample blog post for Project One. Note that the small object I modelled is considerably simpler than the ones you’ve been assigned.





Below are samples of the files that you are required to submit for Project One. Note that yours should be delivered to me on a USB key in a single eponymous folder (a folder named by your name).

Click here to download the line drawings and renderings of my small object. Note that these have been compiled into a single two-page PDF file: yours should be as well.

Click here to download the 3DM model of my small object.

Click here to download the STL model of my small object.

Below are samples of two intermediate files that were created in the process of completing my Project One sample. You do not need to include either of these files in your own Project One submission: they are included for your reference only.

Click here to download the Illustrator document used to generate the drawings and renderings.

Click here to download the PNG rendering from Rhino used in the Illustrator document.

Introduction: Gillian van Santen

February 10, 2011

Hi There!

I’m Gill, a third year Material Art &Design major focusing on Jewellery. Before OCAD I studied Graphic Design at George Brown College, and have always generally been overly-attached to my computer. I’m taking this class, because I think Rhino is an essential tool for designers today and am looking forward to getting better at it!

…sorry this post was so late!


January 26, 2011

I am in 3rd year ED. I have had the ” pleasure” of working in Auto Cad and still find it quite frustrating. Photoshop although used for a different set of tasks is more pleasant to work in. Illustrator I am only mildly familiar with.
I see this course as an introduction into the production of objects through CAM – of which I have absolutely no knowledge. As a design student I recognise the importance of both computer aided design and manufacture as an aid to the process of design. This course could be helpful in providing different avenues for design manipulation and presentation in different fields – furniture design, building models or even architectural design details. I really would like to explore the possibilities of architectural model making through CAM if possible!

Introduction: Jenny Duong

January 20, 2011

Hey guys,

My OCADU discipline is Environmental Design with a minor in Material Arts Design: Jewellery. I finished my thesis last year and have been further exploring and learning techniques in jewelley, which I can’t seem to get enough of. I want to hopefully one day own a studio of my own; but for the time being I might be designing jewellery on the side and working at interior design firms after graduating.

I chose to take this course because I want to learn as much possible about designing jewellery and this course serves as training on how to design jewellery using software. Which is becoming an advancement to the next level within the jewellery industry. Learning how to use Rhino-ceros may also be helpful for me in the architectural and interior designing industry. This software will act as a new tool for rendering my ideas for any design realm.

I am pretty comfortable with technology, of course I don’t see myself as a software wiz, but I have gotten by with the basics. I have used AutoCad to render and print architectural drawings but do not know how to turn these drawings into 3D models. I have played a bit with Sketchup and completed a perspective rendering of a furnished room for a project. I am also experienced with using Photoshop to enhance images.

Thanks for reading in! I’m looking forward to walking out of here in April with more technological knowledge!


Introduction: Daniel Kim

January 20, 2011

Graphic Design

Hi, my name is Daniel and I am a 4th year graphic design student (not doing thesis!). I’m interested on expanding my skills so that I can implement variety of production methods for all sorts of projects. I enjoy being able to use different tools in design that can bring an idea to it’s finalized product. I feel that it liberates you from limitations and allows you to fulfill a project, in a creative and enjoyable manner. I am very familiar with Illustrator, InDesign, and Photoshop, but am not familiar with 3D programs. I have used Sketchup on a very basic level but that is all.

Best of luck to everyone in this class, and hope we all produce top notch work!


Introduction: Tara

January 20, 2011

Hi!  I am in Environmental Design, and doing a minor in Industrial Ceramics.  I like domestic things and bathtubs.  And triangles.

I am taking this course as it is an option for my minor requirements, but also supposed to be helpful for architecture.  I plan on modeling in 3D to make plaster molds for porcelain slip casting, so I hope the prototype materials are compatible with the process!?

In terms of technology, I would not say that I am an expert in any particular software.  In my projects, I have used AutoCAD (time waster), Revit (time saver), Photoshop, and Illustrator.  I am not afraid of most technology (early adopter?), but really don’t enjoy the bootcamp-ed side of my mac.  So whenever I get frustrated with a program, I just blame it on the PC.  Still, I persist and can spend unhealthy amounts of time learning/perfecting something on a computer.  I have never used the Rapid Prototyping shop down there in the basement, as I do find it a bit daunting.

Introduction – Leah Chiang

January 20, 2011

Hey everyone,

I am excited to start off the new year by learning how to utilize the Rhino program and ultimately begin a possible career path in the world of 3D virtual modeling. I am majoring in photography and minoring in MAAD, specifically Jewelery. It is my pleasure to be a part of this class and ultimately learn each step of this program to become more confident in virtual modeling. I hope to take away a lot from this course and to befriend everyone from this class. I have never touched a modeling program so far. I sketch madly as an attempt to compensate for the smoothness and ease of virtual modeling. Most of you I don’t know. That wont last for very long. =D

Thanks for reading my post.


Introduction: Hira Gardezi

January 20, 2011

Hi everyone,

I’m Hira Gardezi and I’m a 3rd year student of Environmental Design. I’m taking this course to understand how I can bring my virtual reality(virtual designs in mu mind) alive by creating designs on a 3D software and then handing them in for prototyping! … smilezzz!!

Hira Gardezi

Introduction: Dia (Jie) Jiao

January 20, 2011




Illustrator/ Photoshop/ InDesign

I was not aware of the Rhino software until my friend (also from graphic design) took this course in the summer and suggested it to me. Because graphic communication is no longer strictly associated with the two-dimensional plane, being able to understand and create three-dimensional forms could lead me to a different realm to experiment in during the design process. After learning the Rhino software, I hope to be able to explore both 2D and 3D forms with greater confidence.

Introduction: Homa Esmaili

January 19, 2011

Hey all. Im in Jewellery design.  Dont know anything about rhino or any 3d modeling software.  i chose this course b/c its all about tech and computers and less about hand made craft in jewellery industry, and i need to catch up. I am really good at photoshop. I learned it by sitting in front of the computer and playing with photoshop. i believe i can do the same with rhino if i want to.

Introduction: Joe Lee

January 19, 2011

Name: Joe Han Lee

Discipline: MAAD

I am taking this course because I played around with Rhino 3D when I first got my laptop w/ Rhino together, I am looking to expand my computer knowledge, particularly in designing jewellery in a CAD program like Rhino 3D beside having to draw accurately and everything from sketchbook.

Other software: Photoshop & Illustrator

After going through the exercises this is what I came up with a ring that I first made for the ring project in intro to jewellery class. 🙂

Introduction: Christopher DeBoer

January 19, 2011


Christopher DeBoer

Environmental Design


Hey Everyone,

I guess i should start off by saying that I’m taking this class because I think the more skills you can have, the more fun you will have, and 3d CAD is pretty fun to play around with. It also makes for pretty amazing presentations and hopefully will help me get a job once I leave the warm and fuzzy womb of OCAD. I also think that this type of work helps one to better understand how things are designed, and provides you with an opportunity to delv deep into the nitty gritty of forming a virtual object. I plan to get really up-close and personal with my caliper that I will be modeling, and through this, hopefully I can understand some of the design choices that were made when it was originally designed. I am also currently getting over the flu, which feels more like the plague and the black lung combined. Hope no one else is sick, because its not a pretty bug this one.

Project One: Small Object Assignments

January 18, 2011

[Possibly Missing or Erroneous] Tutorial Models

January 18, 2011

Click here to download the Rhino files required for Class One.

Click here to download the Rhino files required for Class Two.

Click here to download the Rhino files required for Class Three.

Project One

January 18, 2011

Click here to download Project One: Training Object: Virtual to Reality.

Introductions Instructions

January 18, 2011

Your first task is to perform a number of administrative tasks that will help our section of Small Object Design: Virtual to Reality run smoothly.

1) Log in to the blog. I have given all of you access and authorship permission on our course blog. Go to the blog, and log in with your usual OCAD username and password. We’ll go over the blog interface together in class as necessary.

2) Make a post to the blog. Include the following.

  • Your full and (if different) your preferred name.
  • Your OCAD discipline.
  • A photograph of you, that clearly shows your face. This is so that your colleagues and I can identify you.
  • A brief description of why you’re taking this course. Your answer to this question will help me tailor this course to your aspirations.
  • A brief description of your general level of comfort with technology, ranging from “I don’t have a clue” to “I’m an expert at the use of all software and hardware.” Be specific: name the software and hardware that you know, and how well you know it. Your answer to this question will help me tailor this course to your skills.

3) Curate your post. Presentation is always important in design. Publish the post, and see what it looks like. If you’re not happy with the spacing, the image quality, or the graphic composition of your post, revise it. Please visually curate all blog posts (and any other material) you make in the future.

Please title your post “Introduction: [your preferred name].” For example, my post would be called “Introduction: Jesse Colin Jackson.” Please check the box beside the “2.0 – Introductions” category provided. Please consistently follow these conventions for titles and categories in the future.

Please make your “Introduction” blog post as soon as possible!

Rhino 4.0 Training Manuals

January 18, 2011

Click here to download the Rhinoceros Level 1 Training Manual v4.0.

Click here to download the Rhinoceros Level 2 Training Manual v4.0.

Rhino 4.0 User’s Guide

January 18, 2011

Click here to download the Rhinoceros 4.0 User’s Guide.

Course Outline

August 30, 2010

Click here to download the Course Outline.