3D printed skull mask!
Aug. 17th, 2015 11:56 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
labricoleuseI've been doing some other 3D printing projects in tandem with the librarians at the Research Hub here on the UNC-CH campus, and today's entry is maybe my favorite of the results: a 3D printed mask!
Back in 2012, then-grad-student Candy McClernan created this skull sculpture (left) to make a traditional leather mask (right).
She also did versions in Wonderflex (top) and papier mache (bottom). So when i embarked on this project, i thought it'd be cool to use the same sculpture for the 3D print experiment.
We worked with science librarians David Romito and Drew Robertson to 3D-scan the sculpture in the top photograph. The laser scanning process doesn't do well with reflective or shiny surfaces, and our sculpture had been painted with a glossy topcoat to more easily release the mache mask. Drew suggested that we paint it with a flat primer to help get a better capture.
Here's the matrix sculpture on arotating stand being scanned against a white backdrop. Those red lines are the laser beams moving across the surface and registering data points of its topography. It rotates in full 360 degrees throughout the scan, which took around 15 minutes.
Another perspective on the scanning processs.
We didn't get a good coverage of data points from the flat grey sculpture. Sadface. So Candy took it back to the workshop and sprayed it flat black instead, for even better contrast.
Black version being scanned. Looks pretty cool.
Much better capture this time! Drew then cleaned up the scan for us in MeshMixer, to plug any wayward holes in the surface and fix any flaws in the scan. Then i went to NYC for a month, and when i returned, David informed me that there was a new printer in the lab:
The Fusion3 fabricator! It's got a 12" x 12" x 12" print capacity, so the mask could print in one go.
With the smaller footprints of 3D-printers like Makerbots, i was going to have to cut it up into two or three pieces, then attach them all together. Which, fine, but fabricating in one piece is preferable!
David then took our scan with Drew's edits, hollowed it to a 2mm thickness, and fabricated it on the printer depicted above. The print, i'm told, took around 10 hours to produce.
Mask printed in PLA plastic on the Fusion3, at a thickness of 2mm. You can see some of the topographical ridges created by the toolpath of the print head, which could be smoothed out with epoxy putty if desired before painting. Or, could be a feature.
This would still need some cleaning up, filing off some rough spots or lining with foam/felt, just like with any traditionally-produced mask, and clearly we'd have to determine eyehole placement and any other openings (mouth? nose?). For a first try though, i'm really pleased with the result! We could print another one just like it with a 10 hour turnaround, or we could adjust the file--cut the eyeholes digitally, say, or scale it down 10% if it's too large, etc.
It produces a mask that feels much sturdier than a vacuformed plastic mask (though i have not done stress-tests to see how much force would break it), and with a higher melting point than Wonderflex. It's not as lightweight as papier mache or Fosshape, but not as heavy as cast neoprene. It's not flexible at all.
Point being, this method doesn't work for every application, but if you need a rigid mask to be worn, say, in direct Florida sun for an hour long parade? This would be great! If you need a flexible mask that can bend in half and pop back into shape? This is not it.
Regardless, it's exciting to have one more option for maskmaking, with a solid idea of the turnaround time required to produce it.
Back in 2012, then-grad-student Candy McClernan created this skull sculpture (left) to make a traditional leather mask (right).
She also did versions in Wonderflex (top) and papier mache (bottom). So when i embarked on this project, i thought it'd be cool to use the same sculpture for the 3D print experiment.
We worked with science librarians David Romito and Drew Robertson to 3D-scan the sculpture in the top photograph. The laser scanning process doesn't do well with reflective or shiny surfaces, and our sculpture had been painted with a glossy topcoat to more easily release the mache mask. Drew suggested that we paint it with a flat primer to help get a better capture.
Here's the matrix sculpture on arotating stand being scanned against a white backdrop. Those red lines are the laser beams moving across the surface and registering data points of its topography. It rotates in full 360 degrees throughout the scan, which took around 15 minutes.
Another perspective on the scanning processs.
We didn't get a good coverage of data points from the flat grey sculpture. Sadface. So Candy took it back to the workshop and sprayed it flat black instead, for even better contrast.
Black version being scanned. Looks pretty cool.
Much better capture this time! Drew then cleaned up the scan for us in MeshMixer, to plug any wayward holes in the surface and fix any flaws in the scan. Then i went to NYC for a month, and when i returned, David informed me that there was a new printer in the lab:
The Fusion3 fabricator! It's got a 12" x 12" x 12" print capacity, so the mask could print in one go.
With the smaller footprints of 3D-printers like Makerbots, i was going to have to cut it up into two or three pieces, then attach them all together. Which, fine, but fabricating in one piece is preferable!
David then took our scan with Drew's edits, hollowed it to a 2mm thickness, and fabricated it on the printer depicted above. The print, i'm told, took around 10 hours to produce.
Mask printed in PLA plastic on the Fusion3, at a thickness of 2mm. You can see some of the topographical ridges created by the toolpath of the print head, which could be smoothed out with epoxy putty if desired before painting. Or, could be a feature.
This would still need some cleaning up, filing off some rough spots or lining with foam/felt, just like with any traditionally-produced mask, and clearly we'd have to determine eyehole placement and any other openings (mouth? nose?). For a first try though, i'm really pleased with the result! We could print another one just like it with a 10 hour turnaround, or we could adjust the file--cut the eyeholes digitally, say, or scale it down 10% if it's too large, etc.
It produces a mask that feels much sturdier than a vacuformed plastic mask (though i have not done stress-tests to see how much force would break it), and with a higher melting point than Wonderflex. It's not as lightweight as papier mache or Fosshape, but not as heavy as cast neoprene. It's not flexible at all.
Point being, this method doesn't work for every application, but if you need a rigid mask to be worn, say, in direct Florida sun for an hour long parade? This would be great! If you need a flexible mask that can bend in half and pop back into shape? This is not it.
Regardless, it's exciting to have one more option for maskmaking, with a solid idea of the turnaround time required to produce it.
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