The 3D Printed Paint Chip
I scanned hundreds of dry layered paint pieces at 2400 dpi, capturing details beyond human vision or photography.
This effect of Hyper-
Real representation makes it possible to view the objects found in a new way.
Some compare these images with sculptures, while others compare them with topographic maps.
By zooming in on these small objects, I explored the dimensions and transforms and improved the material quality of these often overlooked objects by highlighting their color, texture and form.
I expanded the scope of the scan and ended the project with a colleague
Planning performance \"shift\" held in Robert C on October 2014
Alfred Turner Gallery, New York
The exhibition consists of 17 pieces of paint chip prints of various sizes.
I am curious if the quality of the sculptures enlarged by these prints can be reproduced in the form of ceramics.
Then, I accompany these prints with small porcelain carvings that are very similar to the actual paint fragments.
I am not happy with the results of the small ceramic sculpture, and I envision the creation of an enlarged, precise replica of paint debris.
I applied for an Alfred research grant for undergraduate students (ARGUS).
I propose to use a CNC router to carve 3D scanned digital files of the paint chip onto the think foam.
Then I can make the traditional cast mold with carved foam.
The last step of my process is to layer the colored slip bar into the mold.
This will allow the liquid clay to present an exact replica of the object.
I envision the final work as a floating wall sculpture that unfolds around 3\'x2.
I got enough money to fund my idea, however, unexpected changes have taken place in my process as I am not allowed to use a CNC router without taking up a specific corse
I ended up using a 3D scanner, Stratasys Fortus 250mc printer, and a 3D System Z 450 printer found in the McMahon Hall of the University of Alfred.
The 3D Systems Z 450 printer converts the information of the scanned object to in ABS (
Due to this change in the material, I can convert the more durable ABS part into the plaster mold I want.
My research showed me that the technology of the 3D digital manufacturing lab at the University of Alfred could not capture the details of my plan.
Every step of the 3D modeling and rapid prototyping process reduces resolution to the extent that information is limited to simplifying the terrain.
So the final steps of my vision are still uncertain.
If I could use a scanner to get tiny details (
For example, the optical topographic map scan uses 35-
Mm oral camera based on photographic system)
Or have been trained to use a CNC router, I will be able to retrieve more accurate replication, and my vision of copying paint chips may be successful.
Although the result proves that the final execution of the conversion paint chip is not successful, the retrieved information can be viewed to enhance and redirect the creative process.
Events that do not execute my project, instead indicate the path to be explored and may re-
This is an exciting and unique perspective for me.
I was attracted to this kind of survey because it gave me an opportunity to share the skills I gained and to communicate new findings in the process of simulation and digital output.
My current goal is to tap the potential of art and expand my research on material transformation.