AVOID DISASTERS
Avoid 3D printing mistakes and disappointments with these tips on what not to send to print
An unsteady base Pore-level details Too many overhangs
Make sure the bottom of any model you Remember to not get too focused on Don’t allow any model to have too many
intend to print is completely flat. This will every single crack and pore. Some unsupported overhangs. Remember the
avoid problems such as warping when printers cannot achieve the detail – 45-degree rule – any unsupported angle
actually printing and add to your model’s remember to consider the mm resolution in your model that’s less than 45 degrees
stability when standing. of your printer when modelling. will normally require supports.
REDUCE POLYGON COUNT MODELLING
QUICK TIPS
When you have finished your design, 51
actually converting your model into an .stl DIMENSIONS
file or .gcode that the printer will interpret
to print your final model will be much Remember to make sure your 3D printed
faster and easier if the overall model model will have the right dimensions and fit
polygon count is lower. Take particular in the 3D printer’s build volume – otherwise
care in checking for any unnecessary you may have to print the object in separate
polygons in your projects – such as any parts to then glue or fit together.
internal surfaces in an otherwise hollow
design. Make sure you then triangulate the Gcode generators need all polygons to be FLEXIBILITY
polygon mesh before slicing to save even triangulated before being able to create the
more time so that your slicing software code for the printer to print. Using ABS plastic allows for some flexibility
does not have to convert it for you – if so desired. But if you don’t want any flex
make sure the area is thick enough to not
allow the part to flex.
CHECK NORMALS AND GEOMETRY SUPPORT MATERIAL
Make sure your model doesn’t contain These can both be tricky to spot and Try to design your model to print support-
any non-manifold geometry, or any correct directly in your modelling free so that no clean up is needed. Or try to
one edge that is shared by more than software, but as another option there are create your own custom support in areas of
two faces. Also ensure that all surface applications such as netfabb that can do your model that aren’t too obvious.
normals have a unified direction, pointing this model clean up automatically, so you
outwards away from the model’s surface. don’t have to. TOLERANCE AND CLEARANCE
KEEP ORIENTATION IN MIND When deciding if any part needs to fit into
another or any moving parts ensure you
Choosing the right orientation for your final have tolerance – leave a small gap between
model can allow you to avoid using too two objects, even as tight as 0.3mm. Test
many support structures, print in less time, your moving parts through clearance to
and even make stronger final objects. An ensure they will move how you wish.
object can be twice as strong if orientated
with the layer, for example. The layers are EXPERIMENT AND SHARE YOUR MODEL
the weakest points of the models so ensure
the layers are running perpendicular to the Experiment with different fill types,
area where the force is exhorted the most. orientations, supports, materials and more
to deliver the best result! Don’t forget to
share your model on myminifactory.com,
shapeways.com, thingiverse.com and more
so others can download and print it.
Get started with 3D printing Finishing
AFTER
52
BEFORE
A GUIDE TO FINISHING
Ensuring that your product is finishEd propErly
is kEy to crEating a high-End 3d projEct
Imagine spending many hours crafting of the techniques and processes used in automate the process of building usable
a beautiful piece of furniture and then finishing a 3D object have been used for objects, but the finishing process will require
leaving it bare. If you left it with just years on other materials and only require a human to use their skills to add personality
the original work in its natural state, it would time and patience to complete. If you follow and class to the finished product. It may feel
not looked finished and would be half the our tips and understand the materials and like a small part at the end of the process,
object it has the potential to be. For all of tools you need before you start, you should but it really is important and should prove
the talk and hype surrounding 3D printing, be able to complete the finishing process to be an enjoyable activity which brings you
finishing is rarely mentioned, but it remains with widely available materials and tools you closer to the object that you have created.
a hugely important part of the creation may already own. If you want to build an object of beauty or
process. From the initial inception to the very one that is practical in daily use, the finishing
final stages, finishing should be considered. In many ways the finishing process feels process is the final crucial stage in building a
It is integral to how well the object will be completely opposite to the process of 3D worthwhile 3D product.
received. You will need to think about sealing, printing. The first part is designed to largely
bonding, painting, sanding and other stages
of finishing your product during the idea “From the initial inception to the very final stages,
formation. You need not be concerned that finishing should be considered. It is integral to how
finishing the object will be too difficult. Many
well the object will be received”
TIPS FOR FINISHING sAfetY
FINISH YOUR 3D PRINTED OBJECTS IN STYLE. PATIENCE, Always consider safety
SKILL AND THE RIGHT TOOLS WILL HELP before you start finishing
This guide should help you some time to understand how the various 01 GLOVES
understand the right approach materials you use will work together and
to take before you start finishing also be considered with the tools you are Take some time to find the perfect
your 3D prints and this will consist of using. Lots of research, a safe environment balance between protection and
general advice, tips for the best tools to with good lighting and ventilation, and the manoeuvrability. Some thin gloves can
use and some areas to avoid. The fact is right tools will give you the confidence you still be very safe.
that finishing a 3D object is very similar to need to spend time making your 3D printed
traditional finishing of wood and metal, but objects look as good as they can. Without
with the provision that these objects can finishing, most 3D objects look like rugged
be much more complicated in form and plastic forms so the techniques mentioned
potentially more fragile. You will need to take here can make all of the difference.
Welding for strength
You will want to weld 3d objects together to weld objects together, consider asking 02 GLASSES 53
if the requirement is for a very strong for help from a professional with the
joint between the two, but the process necessary tools to help you. the cost of If possible, try to wear safety glasses all
will require specialist materials and arc welders is not too high, but you need of the time because you never know
equipment to complete. research has to remember that if you have to repeat where danger may come from. Anti-
been undertaken on metal 3d printing, the process for different objects, new mist glasses work best.
but as we are in the early stages the equipment or templates may be required
costs are still extreme. this leaves us each time and so it makes financial
with the traditional methods which will sense to build a relationship with those
involve using an oxyacetylene gas torch who already have the equipment and
or arc welding which requires the use of knowledge. A good quality weld could
high electrical currents to heat the two mean the difference between complete
objects for bonding together. if you need success or failure.
SOLDERING IS SIMPLE 03 SOLDERING MASK
The main advice when soldering two objects Brazing uses a filler to join objects at a much Don’t be complacent. If you are
together is to ensure that both components higher temperature, but the actual physical expecting to solder 3D parts, you
are clean. You will want to remove any process and tools used are very similar to should always use a proper soldering
surface oxides, which may involve scraping soldering. You can use copper, silver or zinc mask to keep yourself protected.
them with a knife, at which point you should as the bonding material when soldering, but
physically join them together to ensure that aim for one with a high proportion of tin for 04 FACE MASK
the mechanical joint is sound. It is only at the best results. Soldering skills will always be
this point that you should start the actual useful for your future projects. You should also consider dust and
soldering process. Many people try to make fumes so a face mask is a must-have
a join through soldering which will eventually safety option. They are also extremely
break as this process is not designed for cheap considering their benefits.
strength under all circumstances. The trick is
to attach the objects before you solder over
the top of them which will create a stronger
and more durable join. Soldering is mainly
used for joining electrical components, but
can be used for 3D printed objects as well,
and this could be where brazing comes in.
Get started with 3D printing Finishing
PAinting SMOOTH YOUR
3D PRINTS
take care painting your
prints for the best results It is extremely difficult to produce smooth
3D plastic prints immediately, but there is a
01 BE PREPARED process you can use to smooth them quickly.
You can place a large glass jar on a heating
Make sure you have the right brushes build plate and then place your object inside.
and paints for your prints ready before Add a tablespoon of acetone and heat it to
you start. Don’t forget adequate 110°C, at which point the acetone vapour
ventilation and a source of water. will react with the plastic and automatically
smooth out the entire object, but you will
need to remove it quite quickly. This trick
works with ABS plastic, but does not with
PLA materials so you will need to check
carefully before you start.
02 POROUS MATERIALS filling smoothness afterwards, so take some
time to research the best methods to
Be aware that many 3D materials are the process of filling on a 3d printed fill a particular area. it is a traditional
object is not as straightforward as you approach which is used for much more
54 porous so you can expect the paint may first believe. You will need to use than just in 3d printing so you will likely
a putty like Bondo which is ideal for already have an idea of how to complete
to seep through to the other side on dealing with scratches and dents, but the process. try to add the putty in very
thin sections. you will also need to spend some time thin layers for the strongest and most
sanding the area afterwards before it visually pleasing end result. it can take
can be painted. this process will very time, but it will be worth it in the end.
much rely on the type of object you are
filling and the requirement for absolute
SEALING YOUR GLUE WITH
3D PARTS CARE
03 MODELLING PAINTS
You do not need to spend a fortune on
paints because good quality modelling
paints work well. Most acrylic paints will
do the job.
04 BRUSH LIGHTLY There are sophisticated techniques that The first thing to consider when gluing a
can be used to seal 3D parts, but there is 3D printed part is whether this is the best
Brush as lightly as you can and use also a product called TC-1614 A/B which option. You will need to be confident that
many strokes with minimal paint. can be utilised to strengthen and seal the process will provide the strength you
Patience is key to painting a 3D object each component. You have to pour equal require and if so, we would recommend
without any blemishes. amounts of the included epoxy resin Cyanoacrylate, which is otherwise known
solutions separately and then heat them as Super glue. This is ideal for small repairs
to 49°C. Pour them into a plastic bag and and Araldite, a type of epoxy resin, is also
then place your object into the bag for 25 an option, but we would tend to say that
minutes. Once removed, you will need to careful use of Super glue will give the best
leave it to dry naturally and the end result results. Please remember that glued repairs
should be a fully sealed component which can be almost impossible to paint so use
also looks much smoother than before. the glue very sparingly.
triMMing is AlMost AlWAYs needed FINISHING
QUICK TIPS
do the job. it is, however, much more
complicated than that because even GET HELP IF NEEDED
the way you hold your 3d component
while trimming can cause damage and Not all tasks in the finishing process can be
completely ruin all of your work in an handled effectively using tools and materials
instant. if you are able to, try to secure that are freely available. If you need to, ask for
your 3d part with a vice or similar tool expert help.
and then spend a lot of time trimming
When trimming 3d parts, the best rather than trying to get the job done as BEFORE YOU FINISH
advice we can offer is to consider quickly as possible. there is no specific
exactly what you need to do before method that works for all types of Consider what materials you are using in
you start. You will need to understand trimming, but experience and patience your 3D prints and if they can be finished
whether scissors or knives can be will be your friends when it comes to using traditional paints and polish. Don’t
used or if some simple sanding will trimming and the more you do it, the restrict yourself before you start the process.
better the results will be.
CAREFULLY CONSIDER COLOURS
POLISH TO FINISH YOUR WORK
It is worth considering the colour that you
are aiming for at the end of the build and if
this can be included in the printing process
rather than relying on painting later on.
You can polish a 3D object, depending on 3D PRINTS CAN BE FRAGILE
what material it has been cast from, using
a standard polishing compound, but there Take some time to practice finishing
is a lot of work that needs to be done techniques on other objects that are not as
before you reach this point. You will need fragile as your 3D prints. Experience will let
to spend time sanding the object so that it you deal with fragility more effectively.
is smooth and also trimming it to remove
any unnecessary edges. A buffing wheel THE RIGHT MATERIALS 55
attached to a drill will speed up the process
immensely and if your object is strong Only purchase positively reviewed and well-
enough to cope with a tool like this, the known products to finish your 3D objects.
end result could be much better than you It is never worth saving a small amount of
expected at the start of the process. Finally, money on non-branded products.
a product like Carnuba wax should be used
at the very end of the polishing process and try to polish every part of the object YOU CAN’T GO BACK
and again you can use a buffing wheel evenly to create a finish which is positively
to do this. Consider the size of the wheel gleaming. This step should be the most Take the view that everything you do when
enjoyable as it represents the very end of finishing your 3D prints cannot be undone.
your 3D printing process. If you prepare and research every step, you
should be able to achieve the desired effect.
the Best tools
the right tools will make all of the difference
The work area Papers Be sharp
try to ensure that you have a spacious Make sure that you have a selection of sharp knives of various sizes and larger
workbench to work on and ideally graded glass and sandpapers to hand as scissors will also be a requirement
one with a vice so that you can finish these will come in handy when finishing throughout the finishing process. Please
objects precisely. Adequate ventilation is off 3d objects. the more you have, the make sure you check them before use as
important when using glues etc. better the finish will be. blunt tools can ruin an object instantly.
Get started with 3D printing Glossary
56 Glossary
UNDERSTANDING OF THE MEANINGS OF THE TERMINOLOGY
3D scanner Fused Filament Plane Shell
Fabrication (FFF)
a device that uses lasers to ‘record’ the a plane is a two dimensional surface The outside surface of a model
state of a physical object and render it The process of building an object from
digitally in 3D, enabling it to be printed bottom to top by extruding filament, a Print-bed Spool holder
different technique from FDM
ABS The tray inside the printer on which the The part that holds the spool
Infill object is built of filament
acrylonitrile Butadiene styrene is a
commonly used non-biodegradable Given in percentage or as a digit from 0 Print speed STEP
thermoplastic polymer to 1, it describes how full or hollow your
object will be The speed at which a printer can another computer file format, this
Computer-Aided Design extrude the filament. It’s a very type of file is used for cross platform
Maker important characteristic of a 3D printer object creation
CaD techniques and software that as a higher print speed can save a lot
allow a designer to virtually model an a maker is someone who creates of time STL
object in 3D objects using a 3D printer
Raft sTereolithography is a file format that
Extruder OBJ describes the surface geometry of a
a disposable base on top of which 3D object
The part of the 3D printer that melts an editable object file, however unlike a the object will be printed. It allows a
and extrudes the filament through a sTEP file this cannot be edited in all better adhesion of the print and Support
hot end Computer-aided Design software prevents warping
The disposable material used when an
Filament Taper Resolution object has overhangs and needs
something to print on top of
The material (usually plastic) extruded reducing the thickness of an object also called layer Height, the resolution
to print the object toward one end is the thickness of the individual layers Tolerance
of plastic used in a design
Fused Deposition PLA a small gap left between two parts to
Modelling (FDM) SD card allow them to fit comfortably
Polylactic acid is a biodegradable
FDM is a technique of 3D printing thermoplastic. It is used as a material External storage device that can Wall thickness
and is a trademark of stratasys, so for 3D printing and is made of store different kinds of files. They are
the equivalent term of FFF is often renewable resources such as corn and often used to transfer the 3D files to the The thickness of the external wall of
used instead sugar cane 3D printer your model. Needs to be 1mm or more
in order to print properly
WorkfloW
BEFORE STARTING YOUR PROJECT IT IS WORTH
DETAILING HOW, WHAT AND WHEN
Buying your GETTING STARTED Reading the instructions &
first printer finding support
One of the most crucial aspects
As well as the budget you’d to 3D printing your first model It might seem obvious, but reading the instructions
like to spend, remember to successfully is to get started that come with almost every consumer-ready
consider the types of on the right foot. Something as printer today is one of the best things you can do
materials the printer can use simple as choosing the right type towards setting a printer up to give you the best
as well as the resolution and of plastic filament can make a quality results possible.
build volume. huge difference in a print’s final
result, while taking the time to be Knowing printer parts
Choosing the right filament well-versed in all the parts that
make up your 3D printer help you Don’t know the difference
There are a huge range of different filaments and fix things like a pro if something between the print bed, Z
other materials to choose from – including flexible, goes wrong. Here’s what to Motor, and extruder?
glow-in-the-dark, and wood or metal materials. consider when starting up. learning the ins and outs
of your printer will help you
Levelling the print bed troubleshoot any problems
that may arise with minimal
This will ensure your model comes out straight. stress and make the most of
look at your manufacturer’s instructions to level the
print bed correctly. all the printer can do.
Knowing what’s suitable MODELLING Checking copyright or usage rights 57
A model could look amazing on a computer You won’t be able to 3D print Before 3D printing any models, make sure you check
screen, but be completely unsuitable for 3D anything unless you have a 3D over the copyright or usage rights related to the object
printing. Make sure you know what to watch out CAD model of the object you’d to avoid any legal problems.
for, including any parts that are too thin or a lot of like to see brought into the real
unsupported overhangs. world. A variety of websites such Learning the software
as iMakr’s myminifactory.com
Downloading models will allow anyone to download These days there are a huge
for free models suitable for 3D printing amount of resources available to
completely free. Otherwise, you learn more, for all software.
Visit websites such as can also learn how to use a Check resources such as
myminifactory.com, range of 3D design software to Digital-Tutors, CG Cookie, or 3D
MakerBot’s thingiverse. create exactly what you’d like to Artist Magazine.
com, or Ultimaker’s print yourself.
youmagine.com to be Creating models yourself
able to download 3D
printable models There is a huge range of 3D CAD software to
completely free. choose from for 3D printing, from the free Blender
or Sculptris to ZBrush and SolidWorks.
Choosing the right equipment FINISHING Staying safe
Part of finishing your model correctly and staying Finishing your 3D print by remember than no matter
safe is to choose the right equipment for the job, as removing any supports, sanding, how you choose to finish, it’s
well as taking safety measures such as working in a painting, polishing and more crucial to stay safe. Wear
well ventilated area when spray painting. will truly take your work to the equipment like goggles and
next level once it’s out of the gloves whenever possible
Removing support printer. This all-important step – especially when dealing
will give shine to your vehicles with acid, spray painting, or
This depends on the material or make your life-size sword sanding down.
used, make sure you research look truly metallic. Most 3D
to find the best method printed parts can be painted Choosing the right paint
whether it’s simply breaking and polished to meet the
supports off by hand or cosmetic requirements for Parts with a better final surface
hydrolysing in sodium hydroxide. virtually any application. finish will be easier to
complete through paint
Practice and polish, while any
internal cavities
Practice your finishing technique before using it on could be a challenge
your final model. Never throw out your failed prints to complete.
as these are perfect for practising with.
GET THE LATEST LINUX UPDATES,
TUTORIALS AND EXPERT ADVICE
Collating some of the best content from 12 months of the leading Linux
magazine, the latest Linux Format Annual offers in-depth features, fun step-by-
step guides, Raspberry Pi projects, security tips and much more!
NONOSAWLE
Ordering is easy. Go online at:
Or get it from selected supermarkets & newsagents
CONTENTS
60 Create an 59
iPhone Case
Use sketchUp to make a stylish
case for your smartphone
64 Design a moDel
Print a ‘muscle man’ figurine
from a skeleton framework
70 BUilD a laser
Blaster ProP
Construct a mechanical prop
gun with moving parts
76 PrintamUlti-Use
DragonBowl
Combine 3D sculpture and
product design in this dragon
head bowl and coat hook
80 sCUlPt a
meCha rhino
learn how to design your own
textured mecha-style rhino
86 Finish moDels
add style to your finished
prints with these techniques
90 ConstrUCt a
sCi-Fi mask
Fnd out how to make wearable
masks in no time at all
96 moDel a
troll slayer
Use different software to
combine printable elements
100From sCan to
Print – Part 1
Discover how to make lifelike
3D models of a person
104 From sCan to
Print – Part 2
Clean up your scans in ZBrush
and prepare them for printing
iPHONE CASE
Printer used App name Filament used Complexity
Makerbot SketchUp PLA, 18 g
Replicator 2
Create an
iPhone
case
YOU CAN DESIGN AND CUSTOMISE YOUR OWN iPHONE
CASE BY USING A FEW COMMANDS IN SKETCHUP.
I f you own a smartphone, it’s highly likely that you in order to show how you can take objects from the real
have bought a case to either protect your phone world, measure them and then create and customise models
60 or make it look good (or both!). But have you ever especially for you. Although we have focused on creating
considered modelling your own case? We’re going to reveal an iPhone case, you can apply the same techniques to all
how to use SketchUp to create a case for an iPhone, which manner of objects in order to create accessories for real-
you can then customise and 3D-print. world objects. And if you don’t have an iPhone, simply adapt
SketchUp is a quick and easy way to create customised the dimensions to fit your own phone.
3D models, and being able to create your own case ensures But for now, get ready to discover how to design and print
you have complete control over how your phone looks. the ultimate personalised protection for your beloved phone.
What’s more, these steps will only take a couple of hours. Maker: Cemal Cetinkaya is a product and award-winning
The beauty of 3D printing is that you can create an infinite jewellery designer who always aims to create aesthetic,
variety of objects and designs – you really are limited only by innovative products with real functionality
your creativity and imagination! We put this tutorial together profile: myminifactory.com/users/ccetinkayaDowney
01 Trace and draw lines 02 Model rounded edge 03 duplicaTe The side
Import and trace a reference JPG that shows Use the 2-Point Arc to trace the rounded side Move the section 25 mm from the middle
dimensions; use the Line tool, and the 2-Point edge. Select it, click the Offset tool and type point. Click Follow Me, select the section
Arc for curved edges. After drawing the main 1.2 to duplicate the line and set the thickness. plane and move along the side of the guide
body, our guide plane appears between the Draw through the middle of the guide plane, plane. Hold Ctrl/Cmd and use Move to
lines. Use the Dimension tool and measure top to bottom, and delete half using Eraser. duplicate the body. Select the second part,
the main body. Add a couple of millimetres Click Rotate, select the plane and move 900 click Scale and move the red snap point to
to the measurements due to the tolerance. to make it perpendicular to the guide plane. the other side to flip. Join the parts with Move.
iPHONE 6 CASE
04 MODEL BASE SURFACE 05 MAKE A CAMERA HOLE 06 ADD FINAL DETAILS
Select the bottom edge surfaces and press Measure or use blueprints to get an exact Draw guide lines (14/50 mm) on the bottom
the Delete key. Make another surface location for the camera hole. Use Line to surface, one on the side surface, select the
between the empty gaps. Click the Line tool draw a rectangle on the surface with the surface between them and delete to open up
and then draw a line by snapping the end pictured dimensions, then 2-Point Arc to the side for the buttons. To close, draw lines
point shown in the picture. SketchUp then round it off. Select the lines and click Offset at the corners. Select the side surface and
makes a new surface and closes it. Do this to create a copy inside and on top of it. Use use Follow Me. Repeat until it reaches the
for the other side. Push/Pull to push the surface 1.2 mm inside. guide line. Click File and export as an STL.
MODELLING AN iPHONE CASE It is sometimes useful to use the X-ray
mode for transparent faces, so you can see
Tolerance is to do with the accuracy and the interior of your model. It can be very
size that your 3D printer can achieve. It useful for your guide lines
is the most important consideration here
because your phone needs to fit perfectly
61
Draw some guide lines to ensure that you The case needs to be a little bit flexible PRINTER CALIBRATION
can model your case using the exact size so that it can be snapped onto the phone,
of your phone – it might help to make a to- so change the thickness of your case Tolerance and calibration are
scale model of your phone to work with according to your own experience very important when it comes
to printing a phone case. Be
sure your calibration is sorted
and you give the right tolerance
to the case. You can always
increase the tolerance, just to
be sure it is okay after printing.
iPHONE CASE
PRINTING OUT YOUR iPHONE CASE
Filament comes through the hole at
the tip of this nozzle in the extruder –
62 don’t get too close as it’s very hot!
01 LAYING DOWN THE BASE 02 WORKING UP THE DETAIL
Once you’ve sliced your model, loaded the files and started the As you can see here, the filament itself is applied with a pencil-
printing process, the extruder will begin zipping around the like tip, being gradually drawn on following the path defined by
printer bed and laying down the first layer of filament. the g-code that your slicing software generated.
iPHONE CASE
The whole extruder apparatus, or print
head, moves back and forth rapidly during
printing, building up the print in layers
Particularly with patterns like this, always
print a test piece to check the tolerance is
okay and your design is nice and crisp
63
03 REMOVING THE PRINT 04 FINISHING THE CASE
Once the printing has finished, remove the platform that your Depending on the tolerance of your printer, you may have
print is stood on, if that’s possible with your printer. This is so some cleaning up to do. Here you can see that the edges of the
you can remove the print more easily and without breaking it. case need to be smoothed and some irregularities removed.
MUSCLE MAN
Printer used App name Filament used Complexity
Ultimaker 2 ZBrush Form Futura
I n this tutorial, we’ll cover the main
phases of sculpting an articulated
muscular model using a skeleton
geometry imported from SolidWorks.
Starting from a template of bones and
joints externally modelled in SolidWorks
and then adding decent details on top
of it in ZBrush could be a challenging
project. The biggest problems are
related to the possible loss of accuracy
of the mechanical parts. You will need to
consider the compromise between the
overall details placement and the need to
maintain the joints with the same shapes
and on the same precise location.
To explain the workflow, we’ll split
the project into sub-problems with the
easiest solution for each. The starting
point is creating one polygroup for each
articulated part of the template, then
Dynameshing them with high resolution
in order to have dense sculpting surfaces.
After this phase, the remaining steps
64 will consist of analysing each part and
evolving its design (for instance, the
sculpt of the muscular arm) without
impacting the moving systems of the
model. This is why we explain how
masking, selection and polygroups were
so important in completing the project,
using them in combination with other
ZBrush features as Dynamesh, Zremesh,
Backface Masking and different kinds of
brushes to delineate the final design.
Maker:Francesco Orru is a 3D character
artist studying for an MA in Computer
Animation at Kingston University
Profile: myminifactory.com/users/4theswarm
Design a model
OUR EXPERT REVEALS HOW YOU CAN ACHIEVE
A STYLISED MODEL IN ZBRUSH, STARTING WITH
A SKELETON IMPORTED FROM SOLIDWORKS
MUSCLE MAN
01 ORGANISE POLYGROUPS 02 DYNAMESH THEM 03 INSERT THE HEAD
After importing an STL from SolidWorks into For each part that’s a separate group, we This is the only part sculpted from scratch
ZBrush, we need to organise the parts into should Dynamesh or Zremesh it to have and it has been merged in a second time
single polygroups using the Select Lasso and a different polygon density to the original with the torso. Given that we are still in a
Select Rectangle, holding Ctrl/Cmd+Shift to skeleton. Dynamesh with a high resolution planning phase of the project, it is not yet
hide or reveal polygons to keep together in value between 700 and 1000; this is faster important to do a fully detailed head. Focus
one group. Use Shift+F to view polygroups than adding single-edge loops for each part. mostly on fixing the primary shapes and
and Ctrl/Cmd+W to create a new group. Use Zremesh to work on a better topology. moving forward with the next subtools.
65
04 NOW EXPERIMENT 05 MASK THE TORSO 06 EXTRUDE THE ARMS
Use Clay Tube, Trim Dynamic and the Move After posing the sculpt of the head for a To sculpt the arms, extrude the original
brush to create the primary forms. These while to find the right look for your model, Dynamesh geometry of the skeleton with
are good main brushes for blocking out start masking the joints areas on the sides the transpose line in Move mode and use
the main forms and planes of the head. and on the bottom part of the torso, and the masking tools to protect the base from
Exploring poses based on different reference sculpt on the unmasked surface using Trim any modifications. After that, fix the volume
images is a particularly intensive and Dynamic and the Move brush to slowly find of the main muscles and try to give a realistic
recurrent part of the process. a silhouette that looks satisfying. look to the pose.
07 ZREMESH THE ARMS 08 MAKE THE TORSO 09 EXPLORE THE HEAD
Once you have a good amount of detail and The torso is tricky because having four You may have to switch a lot between the
the proportions are fixed, Zremesh the arms articulations inside requires more accuracy different components of the model during
to modify the joint structure. Add a couple during the sculpt. Mask rectangle, Lasso the first phases to study the direction that
of subdivision levels to sculpt the hand and and Pen enable you to start blocking out the entire piece will take. Keeping the head
keep a good topology. For the fingers, apply the general anatomy. Use Clay Tubes for the sculpt entirely free on a separate subtool
Backface Masking on the Move brush to volume, then Move with really low intensity helps because you can merge it with the
preserve areas facing away from the sculpting. and Dam Standard to accentuate details. torso later. Work on volume, not the detail.
MUSCLE MAN Shells need to be repaired until we get the
same number of separated parts in ZBrush
FIXING MODELS USING NETFABB – six for the legs, one for the torso and two
for the arms
The repair function will find any broken surfaces or
deformities within the STL file. What the tool will do
is highlight the area and attempt to fix the surfaces
by either closing up a hole or filling a gap
66
USE NETFABB PROFESSIONAL Like with all CAD software, sometimes edges do not The Invalid Orientations value in this
line up or connect like they should. Most of the time panel will need to be zero in order for
If you still encounter problems fixing the you will need to repair these; this is to ensure that all you to get a successful export after
geometry in Netfabb Basic, you can find the edges are intact and joined to one object scaling your model
an easy solution by switching to the Pro
version of the software – you can have a
much better view of your model.
10 REFINE THE TORSO 11 SCULPT THE TEETH 12 MASK THE JOINTS
Continue with the anatomy, trying to achieve To sculpt the teeth, simply create a Sphere You’ll find that one of the most recurrent
realism in the front packs and back muscles. and then Zremesh it after applying some clip steps in this project is to use the selection
Still in Dynamesh with a polycount of almost brushes to resize the shape. After placing tools and masking to hide and preserve
one million polygons, add more brushes this new subtool in the correct position, the joints areas. Sculpting on top of the
on top of the body. Correct the proportions play around using the masking tools and arm sockets or on the bottom of the torso
from the side view and decrease thickness in the Move brush with the Backface Masking is possible only if you constantly switch
places such as the base for better printing. option activated. between different views with Select Lasso on.
MUSCLE MAN
13 MERGE THE HEAD 14 ADD HEAD DETAIL 15 ZREMESH THE HEAD
Now test out a merging of the head with Adding secondary forms to the Dynamesh After splitting the torso and head into two
the torso; this is to study and correct some head is another way to obtain a more different polygroups, Zremesh the head to
shapes and proportions, as well as to see the interesting and organic look in the facial improve topology and fix polygons in areas
upper area of the model all together in one features. Apart from blocking out the cheeks, like the teeth, eyes and hair. Duplicate the
piece. Then Dynamesh again with your new temples, eyes, nose and skull, it is important subtool before Zremeshing, especially as we
subtool and use the Select Lasso in negative to define an angle for the chin and the neck want to transfer the details from the original
mode to see the result of this first test. for a free support, as well as for the ears. Dynameshed model to the Zremeshed one.
67
16 TRANSFER DETAILS 17 PLAN THE LEGS 18 SCULPT THE LEG
With just the Zremeshed and original subtools After finishing the upper body, define the Focus on the front and border edges for a
visible (i.e. Zremeshed head and torso anatomy of the legs. Focus on one leg, smoother effect. Joint areas need to be sharp
Dynameshed in both subtools), use Subtool> split into three polygroups. Mask the base, as possible, so mask the central-bottom parts
Project All. For each subdivision level added, corresponding to the position of the joints, where articulations were placed. Use Trim
project the details again until you get decent and extrude the leg with the Transpose Dynamic, Curve Tube, Dam Standard and the
density and details. Delete the old subtool and line in Move mode. Dynamesh with a high Move brush for general shapes and the foot,
Dynamesh again for a clean bridge. resolution and get ready to sculpt the pieces. Dynameshing a couple times until satisfied.
19 MIRROR THE LEG 20 DECIMATE AND EXPORT 21 MERGE AND EXPORT
Once you have one leg completed, you can Decimation is a must in 3D printing because Finally, merge everything together to obtain
easily use a friendly plug-in called Subtool we need a relatively short slicing time. a model with 200k polygons. After exporting
Master and click on the Mirror function to Mask the joint areas then pre-process the using the 3D Print Exporter plug-in under
append or directly merge a new subtool, subtools to 50k polygons in order to protect the Zplugins palette, test for any possible
selecting the preferred axis. In this case we’ve sharper zones against any stretching. Now shell problems using the Netfabb software
mirrored on the X axis and after that we just click on Decimation Current, maintaining a and verify the printing speed under different
merge down the leg. percentage of 40% to keep good details. setups in Cura and MakerBot.
MUSCLE MAN
ANALYSING THE PRINTING TEST
Keep a Layer Height of 0.2 and a Fill Density of 10%. Also ensure After importing, be sure to rotate the model and have a flat layer to start
there is no brim and no support. These settings are important as the print. Orientating the object correctly is what sets apart a good print
they result in a good quality, detailed print in a short amount of from a bad one; you want to orientate your object so that it starts to print
time. The higher the percentage of infill, the longer it will take on the flattest surface possible to avoid rafting and support material
68 SCROLL THE LAYER SLIDER
The slicing time for this model is very fast Working on really complicated models
because the polygon count is under 200K means that it’s highly recommended you
– in our tests, we managed to get a slice in adjust the Layer Slider to see the printing
less than 15 seconds preview at different moments.
22 DOUBLE-CHECK GAPS 23 ADJUST THICKNESS 24 RUN THE FINAL PRINT
Before you export, double-check the gaps Pay attention to thickness problems that The last thing in order to see your
between the different parts of the model that arise in the first tests, as these cause holes creation is to open the Makerware
were previously scaled. The Transpose line and unexpected effects in the geometry. slicing software. Choose the setting
tool helps you get precise measurements Open the STL in ZBrush and use the Inflate with no raft or brim – this is important
if well configured; find the Transpose Units brush in additive mode with Backface because you don’t want to generate a
subpalette within Preferences then set the Masking on to expand the torso geometry, flat plastic plane on the platform. Start the
unit scale to 1 and switch to millimetres. pushing vertices along their own normals. print and grab your paintbrush!
THIS COMPLETE GUIDE WILL SHOW YOU HOW
TO GET THE MOST FROM YOUR CAMERA
Teach yourself Photography explains all the photography concepts beginners
need to know, such as how to balance exposures, how to get sharp shots,
and how to maximise image quality.
ON SALE
NOW
Ordering is easy. Go online at:
Or get it from selected supermarkets & newsagents
LASER BLASTER PROP
Printer used App name Filament used Complexity
MakerBot SolidWorks PLA, 325 g
Replicator 2
70 Build a laser
blaster prop
HAVE YOU ALWAYS WANTED THAT ONE PROP FROM A
GAME OR A MOVIE? THIS TUTORIAL WILL SHOW YOU
THE BASIC STEPS ON HOW TO ACHIEVE THIS
I n this tutorial we are going to show you how to create We will show you how to create a 3D model from simple
and 3D-print a prop, which will include moving parts. reference images and sketches. You will learn how to create
Creating an object that incorporates moving parts can moving objects within the model and how to test them to
be tricky but is often a lot more rewarding. It encourages you ensure they will work in reality. You will be shown how to cut
to explore the limits of what your 3D printer is capable of and the model and create glue-free joints so it can be assembled
at the end of it you’ll have a finished product, ready to take without any glue, and how to slice you file with the best
to your next Comic Con! Be prepared for a bit of trial and settings to get the best results out of your 3D printed prop.
error when designing objects with multiple components that
fit together; making sure that all your parts have the correct Maker: Kirby Downey is a product designer from South Africa.
scales and tolerances can involve a bit of work, particularly if He specialises in taking, first making it work mechanically before
you want them to fit together without glue, however once you adding a story to the product using shapes and forms
get the hang of it then it is a great skill to have! Profile: myminifactory.com/users/Kirby%20Downey
LASER BLASTER PROP
01 USE A GOOD REFERENCE 02 TRACE AND SHAPE 03 DETAIL AND FINISHING
Having good reference images helps to Begin the model by tracing the basic outline When adding details, keep in mind that any
figure out what details are necessary. Good within the area that will contain the majority details more than 1 mm deep or overhanging
references can help establish a sense of of the body and start adding and removing will require support material. If this detail is
scale and size so that you can work out how material from the model to create the important to the aesthetics of the model, add
many pieces will need to be cut. Use this to desired shape. All the commands used are 45-degree chamfers so the detail can print
plan your workflow and keep in mind what is the basic Cut and Extrude commands, with support-free. Once the model is complete,
going where. Fillet and Chamfer used to add detail. begin modelling the moving components.
71
04 CREATETHEMECHANISM 05 CONSIDER TOLERANCE 06 DELETE THE BODIES
Creating the reloading mechanism, which For loose moving fittings, like the reload If you delete the bodies around the chamber
will flip up out of the top of the prop, is mechanism, try using a 0.5 mm space and mechanism, you can save them as
simple if you keep in mind the tolerances between the bodies. This will enable the individual parts. Use Insert>Features>Delete
that are required in order to make it work chamber to move freely. Create the reload Bodies to select what you don’t want – for
successfully. The rule of thumb is that tight mechanism and the chamber as separate example, delete the main body of the gun to
fits like clips and joints need a space of 0.3 bodies within the same build. You will test the leave the chamber, then save this with a new
mm between the bodies. movement later when making an assembly. name. Repeat, deleting the chamber this time.
07 CREATE AN ASSEMBLY 08 SLICE AND DICE 09 FINAL ASSEMBLY
Put the parts into an assembly and move Once you are satisfied, cut up the main body Once you have the separate parts and have
them around the environment to ensure to fit your printer. Keep the size of the print saved them, you will need to put them back
the chamber won’t touch the body. Start bed and the orientation in mind. The zig-zag together in an assembly to ensure the snap
by inserting the main body, then insert the joints are designed to be snapped together fits you are going to create in the next step
reload mechanics. Use concentric mates, so without glue, with a gap of 0.3 mm to allow will line up perfectly. Only insert the reload
you can move the mechanism and chamber for a tight fitting. When finished, delete the mechanism and the chamber once you have
to see if it clashes with any other bodies. parts one by one to save them individually. completed the snap fit creation.
LASER BLASTER PROP Ensure you are happy with the details added or
decide if you would like to add more. The straps
pre-printing checklist created here can be excluded and torn white
cloth can be wrapped around the handle instead
Check the mechanism works and is clear from
any collisions with other bodies. Testing it
before you print will prevent you from having
to throw away lots of failed prints
72 Make sure you have tolerance for
everything and the tolerance is correct
Don’t waste your time to the application needed. Test-print
just a small section if you are unsure
There’s no need to spend time
on details that are unnecessary.
Some details can be too small for
the printer to capture or won’t be
captured successfully. If you are
unsure of a certain section, isolate
and test print that section. Some
details will look better painted on.
Bad orientation Good orientation
10 CREATE THE SNAP FIT 11 SEND TO PRINT 12 SET ORIENTATION
This is the tricky part of the build. This Now that you have completed the fittings Import the files into your slicer. Orientation is
involves putting in a notch that enables and are completely happy with your model, key to getting clean models quickly. Here you
the parts to snap into each other. The male you can save the files in the STL format in can see the model in red and the support
notch should be 0.5 mm high and the female order to send to print. Open your slicing in blue, and two different orientations. What
notch should be 0.7 mm deep. In the image software; we are using Cura but there are makes the one on the right ideal is that it has
you can see a simple diagram showing the many that can be used. In here you can see less support material on it, which will make it
profile of the notch. your 3D models and how they fit on the bed. easier to clean and lead to less scarring.
LASER BLASTER PROP
13 SET LAYER HEIGHT 14 SET INFILL 15 REMOVE SUPPORTS
Some print settings are just as important as Infill is the honeycomb structure inside a Once you are happy with all of your settings,
optimised details, as they change the time 3D-printed model that enables it to be strong print out all the pieces of your prop gun and
and quality of the details. Printing at 0.2 and lightweight. Infill can also add weight then remove them from the printer. The best
mm per layer is fine for models with long, and strength, if needed. With this model, 10% way to remove the support material is to use
flat surfaces like this prop, but with highly infill (ie 10% of the interior will be material) is both a putty knife and a crafters knife. You
detailed sculpts it would be better to use 0.1 enough as it needs to be light enough to be can also use small files in order to help get
mm, though this will increase the print time. carried, but won’t break if it gets bumped. the moving parts working smoothly.
73
16 ASSEMBLE AND PAINT
To assemble, slot the parts up to the notch
and knock into place with a rubber mallet.
It is easy to paint on printed parts and you
can use any on the model. We used a white
acrylic undercoat then masked off the areas
that didn’t need the red and blue paint. Use a
clear coat spray paint to protect the paint.
17 THE FINAL PRODUCT
Once the final product is printed, you have
cleaned off the support material, assembled
it and painted it, you’ll have an amazing final
product that you can touch, hold, play with
and show off to your friends. And now that
you’ve made your first moving parts, you can
experiment with them in other models.
LASER BLASTER PROP If you want to embellish your
painted print with surface art,
FINISHING TIPS use masking fluid or tape to
cover the areas you don’t want
IF YOU’RE FEELING CREATIVE, WHY NOT TAKE A to accidentally paint over
REFERENCE IMAGE FROM YOUR FAVOURITE GAME?
KIRBY FROM iMAKR DESIGNED THIS AMAZING
REPLICA OF THE THORN GUN FROM DESTINY!
Depending on how well calibrated or how
accurate you printer is, some tolerances
will be a bit looser than expected. Glue
can be used to fix parts that are a little
wobbly. With the zig-zag joint you don’t
need a lot of glue to fix it
74
Careful painting is key
to a model like this. Start
with a light acrylic coat
and build it up from there
PLAY WITH YOUR PRINTER
The only way you will know how your printer performs
at its best and which settings work best is by playing and
experimenting. While modelling, if you want to see if detail
will appear, or if a certain section is strong enough or if it
can get away with no support, test-print just that section and
experiment. Once you understand how your machine can
handle certain models, you can start making better, higher-
detail models to push your machine’s limit.
Some moving parts can be a bit LASER BLASTER PROP
sticky the first time you assemble
the model. Playing with the DON’T THROW OUT
model can loosen it up and make THE OLD PLASTIC
them move smoother
Use your failed parts and
test pieces to experiment
with finishing and painting
techniques. For example, ABS
can be bathed in acetone
to create a glossy surface,
though this comes with
practice. Also experiment
with other materials like
NinjaFlex, BronzeFill,
WoodFill and carbon fibre.
75
If there is warping or
you want to hide the
zig-zag joints, body filler
can be used to hide and
fill these spots
Ensure that the grip is
comfortable to hold by
taking your time when
sanding rough surfaces
DRAGON BOWL AND COAT HOOK
Printer used App name Filament used Complexity
Ultimaker 2 ZBrush Form Futura
76
Print a multi-use
dragon bowl
COMBINE 3D SCULPTURE AND PRODUCT DESIGN
WITH THIS DETAILED DRAGON HEAD SNACK BOWL
I n this tutorial you will learn to create a support-free You’ll see how we fix the volume of the object after having
design with two different functions: a small bowl for explored the final design that will be produced, how we add
chocolate, fruit, etc. or a hanger for your clothes. secondary forms, how we keep a flat and clean base to add some
The project will focus on 3D sculpting in ZBrush, apart from contrast between the detailed part of the concept and the product
the screw holder mechanism that will be downloaded from the idea of it, and how to add details and fix some proportions.
MyMiniFactory site and then imported into the model.
Finally, we will reveal how to optimise for 3D printing without
When you are designing an object to be printed, especially supports. After seeing how we put this product together, you will
something that is to be used, there is a series of tasks that you be able to experiment with your own designs.
work through to get the desired result. We’ll start by searching for
reference images of a dragon online in order to plan the primary Maker: Francesco Orru is a 3D character artist studying for an
forms. Reference images are incredibly useful for whatever you MA in Computer Animation at Kingston University. In another
are modelling, especially for items that are based on real things. galaxy, within Starcraft, he is known as Fisherman Sardinian
Profile: myminifactory.com/users/4theswarm
DRAGON BOWL AND COAT HOOK
01 ADD DYNAMESH SPHERE 02 ZREMESH AND MOVE 03 SCULPT PRIMARY FORMS
Grab a Dynameshed sphere from the Once you have your sphere sorted, Zremesh You now need to sculpt a 3D-looking V – this
Lightbox menu. With the Symmetry button the rough geometry in order to re-structure will be the primary form for the dragon head
activated and with the Move brush set to a the polygon topology. Gradually develop the – and a flat circular base for the bowl. Use
large draw size, you need to push and pull sphere by using the Move brush and Clay your reference images to plan these. Use
out and modify the sphere shape. Use a Build Up to get a silhouette of the dragon’s Clay Tube, Build Up or the normal Clay brush
good reference image to accurately draw out head. Remember to work with a lower to add volume to the primary forms, and use
the general shapes of a dragon’s head. polygon count to start with. Dam Standard for carving into the model.
77
04 PLAN THE PRODUCT 05 EXPLORE THE DESIGN 06 FIX PRIMARY SHAPES
Our initial plan was to convert a flower vase Create a flat base as an external subtool, Next, block out the general shapes and start
into a snack bowl. The idea of a dragon’s then merge it with the dragon head form. To adding volume and definition to the jaw and
head with its jaws wide open seemed like get a compact design, remove the vase with eye areas. Use Form Soft and Clay Tube to
a great visual impact; using the head of a the Select Rectangle: holding Alt, delete the add volume to the surface in combination
dragon and filling it with sweets and snacks middle and move the head to the base. Use with Dam Standard, Trim Dynamic and the
adds to the juxtaposition. However, the teeth the Selection tool instead of a Trim Curve so Move tool. Use Backface Masking to work on
could become coat hooks if wall-mounted… you can quickly undo or correct selections. just one side; this helps when defining teeth.
07 ADD THE HORNS 08 SPLIT IN POLYGROUPS 09 DEFINE MORE FORMS
Add horns using the Curve Tube brush so Split a new polygroup to sculpt independent Now define the secondary forms. Mark the
you can experiment with curve shapes as pieces if you want to Zremesh and work with transition between the upper part and the
you draw the lines. Adjust the shape of the a better topology on certain parts. Organise jaw to add realism, and create bumps and
curves with the subpalette under the Stroke your sculpt in different areas to focus on skin effects. Add teeth with Curve Tube, using
menu – keep Intensity off and Size on. You each subtool and speed up the processing of Symmetry, Duplicate Subtools and Transpose
can invert the two default dots of the small heavy operations. Orient the sculpt around Line in Move, Scale or Rotate mode to find
canvas to quickly get the exact curvy mesh. 45 degrees to ensure a support-free print. the best look for both rows of teeth.
DRAGON BOWL AND COAT HOOK
GettinG support-free models
The thickness of different subtools like Ensure you have a good orientation of
the teeth, tongue and horns needs to be some of the shapes that will be pulled out
adapted to be proportionally scaled for the from the main body, such as the dragon’s
dimensions of our final product teeth and tongue
detailinG for 3d printinG
Once you have finished with the primary
and secondary forms, it’s time to add
some extra details on top of the design.
Use brushes such as Standard, Form Soft
or Dam Standard to help delineate more
detailed lines and shapes. Don’t be afraid to
increase the Zintensity slider at the top of
the interface for harsher details.
78 Consider the material that is unnecessary to
your design and then cut it from the model
For a support-free design, focus on sculpting angles that are at – the base, for example, doesn’t need to be
least 45 degrees because this will ensure that the printer will not overly deep and this can save you filament
have to generate support structures. This is less time consuming,
as you will have less to remove, and keeps the detail intact
10 ADD THE TONGUE 11 CREATE THE EYES 12 IMPORT SCREW HOLDER
To sculpt the tongue and add it onto the All the main components of your design You should have all the parts for your bowl/
design, insert a sphere, adjust the volume should now be created, apart from the eyes. coat hook design. Download the screw hole
with Trim Dynamic and Clay brushes in In Symmetry mode, place two small spheres geometry from MyMiniFactory.com, import
Dynamesh mode. Create more surface for the eyes, move them with the Transpose the file into ZBrush and orientate the screw
variations with Form Soft, holding Alt on the line and sculpt cavities for the pupils using holes in the bottom of the base. Use Merging
top polygons, and Dam Standard in order to the standard brush in Subtractive mode with then Dynamesh all of the groups together.
complete the basic tongue design. a Drag Rectangle Stroke and Alpha 06. The dragon head can now be wall-mounted.
DRAGON BOWL AND COAT HOOK
13 DYNAMESH HOLDER 14 FINISH THE MODEL 15 MOUNT THE DRAGON
These last steps are simple. Add two cubes Final step: now use Decimation Master to When
with the same proportions as the screw hole decrease the number of the polygon target designing
STL, then Dynamesh them, merge them below 500k for a good decimation, reducing the dragon
together with the dragon base in Subtractive the polygon count but preserving detail. bowl a few steps
mode and re-apply the Dynamesh again in Now click on the 3D Print Exporter plug-in, back you inserted
order to add the two cubic cavities to the save the model and send your geometry to two spaces at the
back of the flat base. Netfabb for scaling and slicing in MakerWare. back of the model
– these spaces are
for mounting the
dragon head onto
a wall, should you
wish to use the print
as a decorative coat
hook. You will just
need to purchase
two wall mounting
screws and
some fireproof
jackets!
TEST PRINTING IN CURA SLICER Set Layer Height to 0.20 in combination
with a Fill Density of 10%. Choose no
The time for printing depends on options like supports and no platform adhesion type,
the Platform Adhesion type, print speed, fill and since we don’t want any brim or raft
quality. The Cura estimation time for this project
was around 10 hours for a 125g object
79
The great thing about Cura, once you have imported your STL, is LOW POLYGON COUNT
that the software enables you to customise the printing settings MEANS FAST SLICING
to exactly how you want them. You can change the scale, the
quality, layer height, the shell thickness and even customise how It’s recommended to keep the
you would like to generate support around the model – this is geometry polygon count as low as
important for optimising the print and the printer’s efficiency possible because this will greatly
reduce the slicing time. To get a low
polygon count for slicing, just use
the Decimation Master.
TEXTURED MECHA RHINO
Printer used App name Filament used Complexity
MakerBot Rhino BronzeFill,
Replicator 2 WoodFill
80
Sculpt a
mecha rhino
Learn how to surface modeL in rhino and
make your very own mecha-styLe rhino
head using bronze and wood
I t is easy to get so caught up in creating the actual shape of achievable within Rhino. We will be modelling surfaces and creating
a model that you neglect to consider the surface. With some objects that would be very difficult to make in other programs, while
subjects, it is the surface that holds all of the character, such as still being specific with measurements and drawing. It is in this way
textured organic materials or glistening metallic objects. Using this that Rhino could possibly be considered an in-between to ZBrush
tutorial you will learn how to surface model using Rhino as well as and SolidWorks.
how to print with alternative materials like BronzeFill and WoodFill.
Maker: Lloyd Roberts is a product designer who has had a passion for
We will be making a mecha-style model of a rhino head, though 3D printing since buying his first desktop printer in 2012. His designs are
the techniques that we’ll use here can be applied to any model and as support-free as possible and always optimal for 3D printing
are a good introduction to the type of surface modelling that is Profile: myminifactory.com/users/lloydroberts93
TEXTURED MECHA RHINO
01 FIND A REFERENCE 02 TRACE THE IMAGE 03 DRAW THE FIRST SHAPE
Before you begin modelling, it can often be a Using the Curve tools, located on the left Now that we have our guide curves, we
good idea to use a reference image – spend sidebar of the interface, start tracing around can draw the outline for our first shape.
a little time now finding a good one to use. the reference image and make a basic Drawing a shape in any of the 2D viewports
Once you’ve got one, type in the command outline guide for your model. Repeat these will always leave you with a sketch on the
Picture Frame to insert a reference image first two steps again using a front view of current plane in view; to move it out from
onto your plane, then rotate it until you are the rhino so that you will have an outline for here you will need to use Gumball to drag it
happy with its positioning. both perspectives. into position.
81
04 DRAW IN 3D 05 MAKE FIRST SURFACE 06 MIRROR WITH HISTORY
With our 2D curve we can now turn on The next thing that you need to do is Split Next we shall use the Mirror command to
control points and, again using Gumball, the line into four pieces using two polylines make the object symmetrical. Before doing
drag each individual node of the curve into that cut across the shape. These four lines this, it is good practice to turn on the Record
different planes to create a free flowing can then be joined together using the History tool. This means that any changes
shape. Try to follow the shape of where you command Sweep 2 to create your first we now decide to make to our object on one
imagine the head of the rhino would sit. You surface. Make sure that you select the lines in side will automatically be updated on the
can always adjust this line easily later. the correct order. mirrored surface as well.
07 REPEAT STEPS 08 MAKE EVERYTHING FIT 09 LOFT THE SHAPES
Repeat steps 3-5 for each surface until you Once you have your surface, you can The next tool we are going to use is called
are happy with all of your surfaces and now turn on the control points for them Loft, which defines a surface shape by fitting
the look of your object as a whole. At this individually. This enables you to move points it through selected profile curves. Using a
stage it is easy to go back and change any to further develop your shape or to position profile curve of our top shape and the curve
shapes that you are not happy with, or to them closer together or further apart at used to create the existing surface, Loft them
experiment with making new ones, so feel specific sections, as opposed to editing the together to create a new 3D surface and
free to try out other reference images. entire shape. then Join them for a solid object.
TEXTURED MECHA RHINO At the top of the window you can
select your printing material to
SETTING UP A SLICING PROFILE change simple settings like layer
resolution and printing temperatures
From this menu inside the MakerBot
software you can import your 3D files,
open the print settings window, save your
files and export them to print
82 If you want to edit more settings within a SLICE IT RIGHT
slicing profile, this is the button you need.
Edit this like a normal text document, It will open up a second window showing The most important part of
using ‘false’ and ‘true’ to toggle options like general information you can edit printing with materials like
support material, whilst using decimals to BronzeFill and WoodFill is
specify details like layer resolution customising slicer settings. These
materials have different properties
to normal printing materials like
PLA, and require different printing
speeds and temperatures to
optimise them. Suggested settings
are 40-100 mm/s and 195–200˚C.
Experiment with them slightly to
match your specific machine, and
edit other settings like retraction
and fan speeds as needed.
10 ADD THE EYES 11 DRAW THE HORNS 12 MAKE SOME SOLIDS
Using the same tools as before, now draw The horns can then be built by drawing Now that we have our model looking like
two oval shapes to form the eyes, offset from three lines and using the Loft command a rhino, it’s time to add thickness to the
each other, then Loft them together to create again. By splitting the top profile curve that surfaces to begin making a 3D-printable
your surfaces. Then using BlendSrf, join your we used to create our previous shape, which object. Use OffsetSrf to offset the surfaces
lofted shape to one half of an Ellipsoid, which the horns protrude from, we can have a very into solid objects, or instead offset the
you will need to Split in the same way as our accurate and seamless shape that will flow surface without making a solid object and
previous lines. together well. then use BlendSrf to join them together.
MASTER THE RHINO INTERFACE TEXTURED MECHA RHINO
If you are completely new to Rhino as to model using all four of these windows Usefully, the tools along the top are
a 3D modelling software, it is a good together, drawing curves in any of the 2D grouped together under different tabs
idea to first familiarise yourself with ports whilst executing surface modelling to help you find what you need
the interface. The main screen is made commands in the perspective view.
up of four viewports; usually these are It is also helpful to use different shaded
top, front, right and perspective, though and wireframe viewports so that you can
you can click on these titles and change see what your model looks like as a solid
them to show a much larger range of object, as well as be able to use curves
different view types. Usually it is helpful and edges all throughout your objects.
83
Down the left-hand side of the screen are the majority of Across the bottom of the screen you also have different
tools that you would most likely use, including the basic 2D snap tabs. These enable you to quickly switch on and off
drawing tools and more complex surface modelling tools different ways of snapping your tools on the interface
1 The toolbar on the right-hand 2 The coloured tool in the middle 3 Within the Rhino interface, as well
side has other helpful menus. of the cylinder here is known as as by using the toolbars across the
Layers enable you to separate different Gumball. Gumball is an incredibly useful top and the side of the interface, you
objects, curves and imported images, tool that helps you quickly transform are able to type in commands using the
then hide and lock them individually an object using scale, move and rotate keyboard. These commands will appear
with ease. The help box is also great for quickly and in multiple ways, moving in the command line along the top of
explaining tools and their functions if objects along a specific axis or scaling the interface and prompt you with other
you are stuck or new to the software. with or without uniformity in an object. suggestions depending on your entry.
TEXTURED MECHA RHINO
13 SEAL THE SHAPE 14 MAKE THE JOINS 15 COMBINE THE PARTS
The next step is to Rebuild the three curves Now for connecting parts. Extrude a circle Finally, make sure that all of the parts for
that we had for our original guide lines in between our two objects and offset this the head are one component by using
order to create smoother curves that we can surface so we have two objects, one slightly BooleanUnion, and then export the horns
loft together. By then moving the control larger to account for printing tolerances. Use and the head as three separate STL files.
points for this surface, you can fill the gaps BooleanDifference on the larger extrusion to This is so that we can orientate each piece
between the individual faces to create your make the female part, then BooleanUnion on individually and then print them using
solid object. the smaller extrusion to make the male part. different materials.
84
16 USE MESHMIXER 17 SLICE THE OBJECTS 18 CHECK THE PREVIEW
The final (optional) touch before printing Using your preferred software, you can In your preferred slicing software, you can
is adding a Keyhole Slot so that you can now slice your model so that it is ready for now preview your object and see exactly
hang it on the wall. Import the object into 3D printing. Import your objects and then how it is going to printed. Using the slide
Meshmixer, along with the Keyhole Slot on orientate them to make them optimal for bar on the side you can view each individual
www.myminifactory.com, tagged under printing. Change the settings so that they layer of your model and identify any issues
Functional Add-Ons. Position them together are specific to the material that you have you may have. Go through each slice in turn
and use Boolean Union to combine them. decided to use and then click Export. now and then fix any issues you notice.
19 PREPARE THE PRINTER 20 START PRINTING 21 FINISH YOUR RHINO
Once you are happy with your finished Whilst printing in materials such as BronzeFill Post-printing, you can now polish your object
model and before you start printing, ensure and WoodFill, it is a good idea to keep a and fix the individual components together
that your build plate is level, prepped and close eye on them. You shouldn’t usually run using the male and female joints, and
that you have enough material on your spool into problems when printing if your settings possibly some glue. Check out the opposite
of filament. Also make sure that it is loaded are correct, but if you do come across any page to see how we finished ours. With that
correctly and that there are no tangles in tangling or a blockage, these materials can done, your mecha rhino is finished and ready
your spool. be more troublesome than PLA and ABS. for hanging up on the wall!
FINISHING THE BRONZEFILL TEXTURED MECHA RHINO
Antique Patina Use a test print of your
is a liquid finish bronzefill model to
you can paint practice your finishing
onto your model techniques on, so that
before buffing you don’t ruin your
and polishing finished model
85
The Patina is applied by brush
onto the pre-buffed and polished
model. The model is then buffed
and polished again afterwards
for the final touch
USE TAPE
Using tape on your build plate will enable
your printed objects to be firmly secured
and also easily removable post-print. One
trick that you can try to apply is using
glue underneath the tape to further
minimise warping, by stopping the tape
itself from peeling away from the plate.
FINISHING EFFECTS
Add style to your
finished prints
YOU’VE GOT YOUR 3D PRINT ALL READY, SO
WHAT NOW? DISCOVER HOW TO TAKE THEM
FROM PLASTIC TO FANTASTIC WITH THESE
AMAZING FINISHING TECHNIQUES
W ant to print a museum-quality dinosaur skull furry effects for cute creatures and much, much more. No
but just realised that you only have neon green background in model making or fine art is required; anyone can
filament left? No need to fret – it doesn’t necessarily get involved.
mean that you have to put your creative vision on hold. It just
means that you need to get a little bit more inventive with your Most of these effects can be used on both PLA and ABS prints
finishing techniques, and with these tips and tutorials from and all materials used can be found in good DIY and art shops.
MyMiniFactory’s very own post-processing team, who have years
of experience in painting and finishing prints to a high standard, Makers: Together, Catherine Wood, Pallavi Davé and Sarah Wade
enhancing the finish of 3D prints has never been easier. form iMakr’s professional finishing team. They bring creativity
and realism to prints by innovatively applying their crafting skills
We are going to reveal the professional tricks for creating Profile: www.myminifactory.com/users/Catherine_W
metal effects for cosplay weapons, stone effects for sculptures, Profile: www.myminifactory.com/users/Pallavi
Profile: www.myminifactory.com/users/Candlegirl3
FINISHING EFFECTS
METALLIC AND BONE FINISHES
01 PRIME THE BASE 02 PAINT A BASE COAT 03 ADD A BLACK WASH
We are going to combine bone and metallic Once that’s dried, paint on a base coat When you are happy with the coverage of
effects for a Pteranodon skull and its base. of brass metallic paint. Apply two coats if the metallic paint, apply a black wash over
First up is the base, which is going to be necessary because this will ensure that the everything; a thin, diluted mix that will dry
made to look as though it is metallic just by colour of the filament doesn’t show through to emphasise shadows. This will go into the
using some paint. Begin by priming the base the paint, which will help lead to a more grooves of the print and help reinforce the
with a single coat of black acrylic primer. realistic effect overall. feeling of depth.
87
04 ADD HIGHLIGHTS 05 FINISH THE SKULL 06 SCORE THE GRAIN
The black wash in the previous step added With the base sorted, it’s time to add a We’ll now add some authenticity to our skull.
depth and shadows, which needs to be bone finish to the skull so that its ready to Using a wax carving tool, carefully score lines
balanced by emphasising the highlights. Do be mounted. Begin by sanding the skull into the print in the direction that the grain
this by applying gilding wax to the ridges using 600-grit sandpaper. This will make the would naturally appear on the bone. If you
and raised areas of the model. Not only does surface nice and smooth, which will add to aren’t sure how this looks, do a quick Internet
this create highlights, it also brings out detail. the final bone effect. search for a few reference images.
07 PAINT THE SKULL 08 ADD A BROWN WASH 09 FINAL ASSEMBLY
With the surface preparation out of the way, Coat the entire model with a brown acrylic Once the skull and the base are completely
paint over the print with two coats of white wash. This will seep into all the cracks and dry, glue all of the parts together and seal
acrylic primer. Once that has finished drying, grooves, bringing out the textures and the entire model with a matt sealant. This
paint on a cream base coat. A mixture of organic details. Apply a second coat of wash will ensure that the paint adheres to the
white and yellow ochre will create a nice, to add to this effect, giving the organic model much better, and it will also give you a
natural bone colour. texture greater depth. longer-lasting finish.
FINISHING EFFECTS
SMOOTH ABS OBJECTS
01 HIDE THE LAYERS 02 SET UP THE COOKER 03 STAND AND REPEAT
To remove the lined appearance of the layers Pour acetone into the rice cooker, 0.5 cm Turn off after 1-5 minutes (depending on print
in an object, you can steam your ABS print in deep. Put the print on a platform 3 cm high. size) and remove the lid without dripping on
an acetone bath. You’ don’t need specialised Ensure the print doesn’t touch the acetone. your model. Let it stand in the cooker until
equipment – a rice cooker is just the job. Switch on and wait for condensation to form. the molten layer sets. Repeat until smooth.
WOOD EFFECT
88
01 PAINT ON GRAIN 02 APPLY VARNISH 03 PUT TOGETHER
Prime the print with acrylic primer then apply Once dry, paint in any extra detail you want With the varnish applied, leave it to dry in a
a medium-brown base coat. Paint wood and leave to dry. After that, use a thin coat of dust-free environment. Once it is completely
grain lines onto the print in a lighter shade of dark brown wood varnish and apply to the dry, you get to the fun part of assembling all
brown and blend with a damp paintbrush. entire print. Repeat as necessary. the pieces to reveal the final product.
FLOCK EFFECT
01 PREP THE OBJECT 02 APPLY THE FLOCK 03 ADD DETAILS
Spend some time masking off the sections Using a sieve, apply flocking powder onto Remove any masking tape or fluid you
of the model that aren’t to be flocked. It pays the model. Ensure you have a nice, even coat applied and then paint on the fine details
to take your time with this. Once you’re done, and then leave to dry. Dust away the excess using acrylic paints. Seal the painted areas
cover the rest in flocking glue or PVA. flocking powder using a soft paintbrush. with clear nail polish.
FROM SHINY COPPER FINISHING EFFECTS
TO VERDIGRIS
STONE EFFECT
Mix copper powder and PVA glue Paint a solution of salt (1 tsp) and
(two parts powder to one part vinegar (1 tbsp) onto the entire
glue) to form a paste and apply
this to the entire print model using a paintbrush. Leave
the model in a container until the
desired effect has been achieved
01 BUILD UP FORM
Apply filler or modelling paste to the whole
of your model in an uneven layer using a
palette knife. Work into the paste using a
toothbrush and paintbrush to create varying
surface textures. Once it’s dry, sand down
any sharp points.
89
Once dry, polish the surface using PREPARING 02 ADD PAINT
600-grit sandpaper followed by THE PRINTS
steel wool to bring out the shine Paint over the textured paste with a grey
Preparation is key when primer, then apply a second layer of paint
finishing prints – do not in varying shades of grey to add tone and
skip this part! Before depth to your print. After this you can use a
beginning with any of black wash to emphasise the grooves. Use a
the effects explored here, reference image to help you create a realistic
remove all the support stone effect.
material and key the
print using 400-grit 03 ADD HIGHLIGHTS
sandpaper. Wipe the
print with a damp cloth Sponge on white acrylic paint to highlight
to remove dust and the ridges and details. This will create greater
grease. Now the print is contrast on the model and add to the overall
ready for finishing. stone effect. Next, spray with matt sealant to
protect the paintwork. This also makes it last
Gently wash off the residue and considerably longer and increases durability.
dry thoroughly. Seal with a matt
sealant to protect the finish
WEARABLE SCI-FI MASK
Printer used App name Filament used Complexity
Ultimaker 2 ZBrush 4R6, PLA
Rhino, 3ds Max
M asks are a fantastic way of
learning a raft of essential
modelling techniques, especially
when it comes to mastering the art of
surfaces. In this example, the aim is to create
a hard surface-looking wearable mask. This
project will give you the opportunity to
learn new software and techniques, it will
expand your design skills and open up a
whole new world of 3D design. Perhaps the
most important lesson to take away is how
learning to design a functional 3D printing
model is the ultimate skill to attain.
In this tutorial we will use three different
pieces of modelling software, namely
ZBrush, 3ds Max and Rhino. Over the course
of the steps, you will learn how to sculpt
shapes using a template from ZBrush and
import a base mesh into 3ds Max for hard
surface modelling. The style you are aiming
for is hard surface, mechanical modelling
– from there you will learn to import into
Rhino and prepare the models to be sliced
90 for 3D printing.
We’ll be honest right from the start – this
tutorial is not for the faint-hearted! It will
require patience and time. However, by
the end you will have the skills to be able
to use three different programs to create a
wearable, functioning 3D-printed design.
Maker: Stefanos Anagnostopolous studied
3D animation and multimedia production.
He takes inspiration from movies and games
Profile: myminifactory.com/users/Stefanos
Construct a
sci-fi mask
TAKE YOUR 3D MODELLING TO THE NEXT LEVEL
WITH THIS IN-DEPTH GUIDE TO DESIGNING A
3D-PRINTED, WEARABLE SCI-FI MASK
WEARABLE SCI-FI MASK
01 SHAPE IN ZBRUSH 02 ADD MORE DETAILS 03 ADD ENGRAVED DETAIL
Open the Lightbox palette in Zbrush, then For a sharper effect on the eye socket, use Start adding the engraved detail using the
go to Tools>Zsketch Facial Anatomy. Delete Trim Dynamic. Once happy with the general Slash 3 brush, which helps to create the hard
all subtools and keep only the skull. Use shape of the sculpt, Zremesh the model up surface look of the mask. The engraved lines
Move and Clay Buildup to push and pull the to 33,000 polygons then subdivide up to will give you a guide line for sculpting hard
geometry into a basic helmet shape. Start at level 6. Drop back down to subdivision 4 surfaces when modelling in 3ds Max. You
the lowest subdivision to get the basic look, to make it easier to add more detail to the may have to go over the lines more than
then increase to subdivision 3 to add detail. model, such as the side of the cheek bone. once to achieve the desired effect.
MASKING AND CLAY BUILDUP IN ZBRUSH
Use the Mask tool to build the desired shape Now use Clay Buildup to Be sure to draw the mask so that it
over the head template, then use Extract in start shaping and building fits the curvature and ergonomics
the subtool palette to create a thickness. Click up defined surfaces of the head – you don’t want an
Accept to create a separate subtool (make sure uncomfortable helmet!
you are on the Mask subtool)
91
USING THE WACOM PEN Don’t worry about scaling the mask until the
end of the tutorial; this can be done in the
Use light hand movements when brushing. Press softly slicing software, as ZBrush is not accurate for
for light detail and increase pressure on a tablet for dimensioning. Just make sure the shape of the
harder, more inflated detail. Getting comfortable using helmet fits a general shape of the head
a Wacom pen is important – the pen is very responsive,
and getting deeper or lighter details can be achieved
by simply pressing harder or softer.
WEARABLE SCI-FI MASK Create an editable poly. You can edit poly
surfaces by clicking on the edge and then
CREATING PLANES IN 3DS MAX pushing/pulling the square into the ruined
shape. Play around and use your ZBrush model
Open the palette in Standard Primitives as a reference for the part you are making
under the Geometry button, select the
plane you want to start editing and start
experimenting with pushing and pulling
the shape into the form you require
92 GETTING
SMOOTH EDGES
The Real-World Map Size option controls the
scaling method that’s used for any texture- Use the TurboSmooth
mapped material that you apply to the mask, modifier once you have
using the settings in the material’s Coordinates created your editable
rollout in order to do this poly surface to get
smooth, refined edges.
This will enable you to
get a cleaner shape for
your model overall.
04 FINISH IN ZBRUSH 05 IMPORT TO 3DS MAX 06 MANIPULATE PLANES
Going back and forth between brushes Import the Zmeshed OBJ into 3ds Max, then Continue to repeat the Edit Poly process by
means that you can re-define some of the orientate to the left side of the helmet. Make first creating a plane on the desired part of
details to look more aesthetic and get as a plane and reduce the edges, open the the head. Copy your references as accurately
close to your reference image as possible. Modifier palette and use Edit Poly. Increase as possible; manipulating planes into shapes
Once you are ready to export to 3ds Max the number of polygons and manipulate the requires a bit of trial and error. For example,
you will need to Zremesh again so you can plane into the shape you require. Repeat this to model the eye you must edit the edges
import the model as an OBJ file. for the front, back and other sides. more than once and split lines for clean edges.
WEARABLE SCI-FI MASK
07 EXTRUDE CHEEK BONES 08 FINISH THE HEAD 09 SCULPT BOTTOM JAW
Complete both sides then add a cylinder to Continue using the Plane tool for the rest of Add a cylinder for the bottom half of the
one, orientated and scaled accordingly; you the head, using editable poly and following jaw. Ensure you are in the left side view, as
will extrude the cheek bones here. Draw a the engraved lines sculpted in ZBrush as a it makes scaling and orienting the cylinder
curved line for the bone with Shapes>Line, reference to create the hard surface effect. easier. Use Modifier>Editable Poly to select
click Modifier, pick the line and click Vertices By using the model and other reference the polygons you will need to detach as
to position it accurately to the head. Extrude images, you will be able to re-create the separate objects; find this in Edit Geometry.
by editing Weight and Length in Rendering. surfaces you will need in 3ds Max. Use Modifier>Shell for the hard surface effect.
93
10 IMPORT TO ZBRUSH 11 IMPORT TO 3DS MAX 12 FINISH IN 3DS MAX
Open the original mesh in ZBrush. Mask the Back in 3ds Max, you should now have the Add the Shell and TurboSmooth modifier to
bottom jaw from the original mesh template, left side of the model complete. To create the each part. The Shell modifier adds thickness
extract this then use Move and Smooth to other half, every subtool that was created will to the parts and TurboSmooth creates a
clean up the masked part. Subdivide the need to have the Symmetry modifier. To join much smoother finish – remember to use
extract subtool then work on the shape with all the subtool parts together, you collapse all two to three subdivisions in TurboSmooth.
Clay Buildup. Next, Zremesh to get a clean the modifiers together by left-clicking on the Once that’s done, export everything to
mesh topology and import back to 3ds Max. Modifier box and pressing Collapse. ZBrush as one object.
13 OPEN IN ZBRUSH AGAIN 14 PRINT A TEST PIECE 15 EXPORT TO RHINO
In ZBrush, the parts are together but joined Now test-print a scaled version and start Next you will need to import the finished STL
as a solid object. Dynamesh at high-res then working out how to cut up the mask into file from ZBrush into Rhino so that you can
decimate the model (Decimation Current, in smart pieces. By test printing a mini version slice the model into parts. Open up Rhino,
the Z plugin), using the pre-process mode of the full-size object, you can use it as a tool click File>Import and open up file browser,
first. In pre-process you will see an indicator to gauge the scale, ergonomics and the split select the STL file to import and then click
of what percentage to decimate depending lines for where you will need to slice the full- OK. Your sci-fi mask model should now load
on the polygon count. size version. into Rhino.
WEARABLE SCI-FI MASK
THE IMPORTANCE OF
REFERENCE IMAGES.
Before you start any CAD project
it is crucial to have a clear idea of
how the final model will look, so
planning and the careful selection
of images to inspire creativity
are needed. For this tutorial the
inspiration came from the Marvel
film Avengers: Age of Ultron. 16 SLICE IN RHINO 17 ADD JOINING PARTS
The key villain has a distinctive
mechanical, hard surface look to To start slicing up the parts in Rhino, you Search for a download the ‘Klik’ part on
the design, and the main idea for need to decide where you want to slice myminifactory.com. This joint enables you
the mask came from here. To take the parts. Use the Curve command tool to to connect the different parts together after
the model further, the structure of draw the line and make a closed curve, and printing them; you will need to orientate the
a gorilla’s head was used. Use the Extrude Curve to make a solid one. By using joint parts onto the mask. To connect them
Internet to gather images of styles Mesh Boolean Difference, you can separate to the rest of the model, use Mesh Boolean
and shapes that will help develop the required part from the rest of the model. Union. Save each part individually.
your model, taking bits and pieces
that you would like to add to the
model. What is important is to
gather as many images as possible
and start putting together a mood
board – this will help with the
style and direction that the model
will take. Once you are clear with
what you want to design, you
will need to either sketch out the
94 model that you want to make or
find an image online. The reason
we use reference images when
3D modelling is to make sure we 18 IMPORT TO ZBRUSH 19 SIZE WITH A TEMPLATE
model accurately! It is very easy to
miss details, scale and proportion From Rhino you will need to export all the You will need to size the model to make it
when modelling from scratch, so separate parts you have sliced back into big enough for a human head. Do this by
reference images help you stay ZBrush as separate subtools. Once you have importing either a scan of your head or a
on course and also enable you to done that, you will then need to merge each ZBrush template of a head. You will then
capture detail. individual subtool into one large subtool by need to orientate the mask around the head;
clicking the Support tool palette and picking use the Move brush to make adjustments to
Merge Visible. the mask so that it fits comfortably.
20 EXPORT ALL THE FILES 21 PREPARE IN NETFABB
In the Subtool palette you will need to Import all the files into Netfabb to make sure
split the parts using the Split Similar Parts that all the parts are printable. Check there
command – this will enable you to separate are no holes or open cells to ensure a clean
the parts again. Now you need to Dynamesh print. Also import a scan or head template,so
each part individually to make sure that they you can scale the mask to the dimension of
are all solid, and then decimate all of the your head to make it wearable. Once done,
objects as you did previously. export the files onto a USB ready for printing.
PREPARING AND SLICING THE MODEL WEARABLE SCI-FI MASK
You will need to head into Draw a closed shape
Rhino in order to figure out using the Curve tool
where to slice up the parts to begin your cut
95
USING RHINO TO SLICE Extrude the closed shape through the model.
Use the Mesh Boolean Difference tool, select
The reason you should use Rhino to slice the two parts and hit Enter. This will separate
is that it is quicker and more efficient than the part inside the extruded shape, thus
doing it in ZBrush. Ultimately this does causing it to separate from the model
come down to personal choice, however
Rhino’s Slicing tool offers a more accurate
way of cutting up a model.
22 OKAY FOR PRINTING 23 PAINT TO FINISH
Once you have made sure that the file is For a professional finish, use a spray booth
okay to print, load the STL files into your and a clear reference image for what you
slicing software of choice – this will vary would like the paint job to look like. For this
depending on personal preferences but any model we went for a mechanical helmet
is fine to use. Click the Slice button to initiate with a white ghost face over the top, keeping
slicing and then wait until it’s completed. With to dark shades of grey, white and black to
that done, you are ready to 3D print. achieve the metallic effect.
TROLL SLAYER
Model a
Troll Slayer
FORGE TWO ELEMENTS IN TWO PIECES OF SOFTWARE
AND JOIN THEM INTO THE ULTIMATE SWORD
T he purpose of this tutorial is to take two 3D modelling disciplines and then
mix them together to make one model. By learning how to do this, you can
ensure that you will achieve the very best results in your models, because you
will be free to pick the software that specialises in the look that you want to get at that
stage of your design.
In our example here, the model has fine organic detail that can only be achieved in
ZBrush. However, it also needs accurate glue-free joins, which can only be achieved
in SolidWorks. Once complete, these two elements can be put together to make one
amazing object – the Troll Slayer. In this tutorial we will show you how to create the
basic skeleton on a sword, and then create joins. Then we will create models that will
fit around the skeleton in ZBrush. Finally, this will then all be meshed together to create
96 one object in Meshmixer.
Maker: Kirby Downey is a product designer from South Africa, currently based in London. He
specialises in taking objects and adding a technical and mechanical side to them, first making
them work mechanically before adding a story to each product using shapes and forms
Profile: myminifactory.com/users/Kirby%20Downey
Printer used App name Filament used Complexity
Ultimaker 2 SolidWorks, ZBrush and PLA, 640 g
Meshmixer
TROLL SLAYER
01 PLAN A STRATEGY 02 MAKE A BASIC SKELETON 03 CREATE THE BLADE
You need to work out what’s going to be To start a build like this you need to create The blade is the largest part of this build and
done in what software. For this model the a skeleton of the sword in SolidWorks. This the easiest to do in SolidWorks. Leave some
skulls were created in ZBrush, and the sword is a guide to where your sculpted pieces will details for later, like the small serration on
and skeleton of the handle and hilt was done be placed. Focus detail at this point on areas the top of the blade. The chamfer won’t flow
in SolidWorks. Meshmixer was used to put it where there will not be any sculpted parts on though these areas as easily if you do them
together, allowing the tolerance and scale of it. First we started with the hilt, using that as first. Use Fillet>Chamfer to add this, ensuring
the joins from SolidWorks to be kept. a mid-point and a reference of scale. you cut out afterwards.
97
04 MAKE THE HANDLE 05 ADD DETAIL TO THE HILT 06 CUT THE BLADE UP
The next thing to do is work on the rest of Add all the necessary details to the hilt, SolidWorks is the best to create cuts,
the hilt, starting with the skeleton. For this depending on the look you’re going for. tolerance and testing of fits, so create these
you can just make simple rods – they need Only add detail that is easy to achieve before adding more detail in ZBrush. Cut
to be thick enough to enable the joins to be in SolidWorks, which in this case is the up your sword, considering your printer,
placed but also thin enough that they won’t markings on the hilt. Don’t spend a lot of orientation and support material. Use the
be larger than the sculpted areas, and then time creating details that can be created zig-zag joins similar to those in the sci-fi gun
show through. faster in another software. tutorial, which are available on MyMiniFactory.
07 CUT THE HANDLE 08 EXPORT THE FILES 09 SCULPT THE DETAIL
Since the handle is round, create a male and Export individual files from SolidWorks as Now working in ZBrush, sculpt out the
female joint that locks into place with a snap STLs, so you can import them into ZBrush organic parts around the imported parts; use
fit. Extrude a semicircle, then extrude another as guides. You can’t sculpt on the SolidWorks those as a guide to the limits of the space
opposite it, adding a 0.3 mm tolerance. files as the mesh is extremely low poly, and you have to work from. We modelled the
You can use glue or make a simple clip for when you Zremesh a SolidWorks file you ram’s head, the skulls on the cross guard
added strength, or both for super-strength. lose the accuracy of the tolerance, joints and and the four skulls on the pommel. Only add
Download the join from myminifactory.com. scale. It could even destroy the topology. detail to the surface areas that will be seen.
TROLL SLAYER
10 DELETE AND EXPORT 11 OPEN MESHMIXER 12 ALIGN THE MODELS
Delete the imported files once you have First import the body of the sword from Move and scale the ram’s head to align it
finished sculpting all the detail you want SolidWorks (see ‘Importing into Mesmixer’, with the bottom of the hilt. You can do this
in the hilt. Make sure that the files you are opposite). Now import the SolidWorks files with the Transform tool under the Edit tab.
using have a poly count of 200,000, as this you’re adding the ZBrush files to. Add the If you see that some changes need to be
will allow everything to run smoothly in next model to the existing environment with made to the models, you can always go back
Meshmixer. Export the files as STLs to import Import>Append. We imported the bottom of to SolidWorks or ZBrush to make the various
into Meshmixer. the hilt, the cross guard and sculpted parts. edits and then re-import.
98
13 SCULPT AWAY WASTE 14 COMBINE THE MODELS 15 EXPORT TO PRINT
Once you are happy with your alignment, Once all the material is sculpted and you are Now export all of the fused parts from
start getting rid of material that is in the way happy with the result, combine the hilt with Meshmixer as STL files so that they can
of the joints. Using the Push2 brush, hold Ctrl the joint and the sculpted part. This is done be sent to your slicing software. This is
while sculpting to slowly push the material by selecting the objects you wish to join in done by simply clicking Export in the side
on the skull instead of pulling it out. Continue the object browser, then clicking Combine. toolbar. Once this is done you will be able to
this until you can clearly see the inside This will fuse the selected parts together and import your STLs into your particular slicing
surface of the joint. have them ready for print. software without any problems.
16 SEND TO PRINT 17 CLEAN AND ASSEMBLE 18 PAINT AND FINISH
Take advantage of each blade piece’s small Clean the support material and assemble Start with black acrylic for a dark undercoat,
surface area on the bed; you can print them your model. The joins designed for this are then airbrush the blade with a silver acrylic in
at the same time. With the ram’s head, play snap-fits. They will pop right into place and the centre and the edges for highlights. Use
with orientation to get it to fit perfectly on hold their position. If they don’t fit smoothly, a grey polish for the hilt and gilding wax to
the bed. Before printing the combined files, knock it into place with a rubber mallet. Due highlight the areas that protrude more. Add
check the preview to ensure they’ll look right. the size of the thing, this model was first bronze detailing, then add a clear coat to seal
Correct them in Netfabb if there are errors. painted and then assembled. the whole paint job.
TROLL SLAYER
19 LOOK AWESOME IMPORTING INTO
MESHMIXER
As this model is lightweight, plastic and
can’t do any bodily harm, this prop can be This is important. When
classed as con-safe. What this means is that importing into meshmixer, the
this weapon will be allowed to be taken into first object you import into the
conventions as a cosplay item. Since it’s environment will be set in that
lightweight, it is easy to carry and won’t be a object’s scale. When you import
strain on you. an STL from SolidWorks, the
model will retain its scale and
MESHMIXER INTERFACE dimension. If you start with a
ZBrush STL that doesn’t have
This is the tab where you find all This tab holds tools like Transform, which moves a proper size or scale and then
your sculpting tools. These are and scales objects, as well as Plane Cut, which import an STL from SolidWorks,
limited but useful for making simple, you can use to make your cuts. Everything you the STL from SolidWorks will
quick and easy adjustments need to edit the basic mesh is found here be scaled to a similar size of
the ZBrush file. The file will
then lose the tolerance and the 99
joints won’t fit together as well.
Here you can export your models. You This tab allows you to inspect your model for WHEN YOUR OBJECT
have a variety of options, all of which are holes or areas that are too thin. The Overhangs BROWSER DISAPPEARS
printer-friendly. Meshmixer also allows you tool enables you to add the Meshmixer support.
to slice straight to your printer This is great for organic objects The object browser is the most
useful tab in Meshmixer when
working with more than one
part. It enables you to hide
and edit specific parts without
affecting others. However, what
sometimes happens is that this
option will disappear for no
reason. There is no button to
bring it back. Do not panic, just
shut down the program when
it happens. To get the object
browser back, simply press Ctrl/
Cmd+Shift+O.
FROM SCAN TO PRINT
part 1
From scan to print
LEARN HOW TO CREATE LIFELIKE 3D MODELS OF A PERSON BY SIMPLY
PHOTOGRAPHING THEM USING A METHOD CALLED PHOTOGRAMMETRY
100 D ue to its ease of production, non-destructive There are various methods in which objects can be
process and high-quality results, 3D scanning is a scanned, from hand-held real-time to infrared and contact –
process that is already being applied to multiple these all require some pretty high-end pieces of equipment.
industries. It’s difficult to avoid the technology that has The most accessible and cheap method, however, is to scan
been so heavily featured in the media in recent times; it the object through a process called photogrammetry. This
has been used in the production of prosthetics and bodily method can be done simply using a smartphone or DSLR
organs in the medical industry, CGI in the video game, camera; the general rule of thumb is that you want to feed
film and entertainment industries, as well as used in the the computer with as much detail of what you are scanning
documentation and archiving of cultural artifacts. as possible by photographing it from every angle.
3D scanning is the process of analysing an object or Maker: Stefanos Anagnostopolous studied 3D animation and
an environment through its form, dimensions and colour. multimedia production. He often takes inspiration from movies
By gathering this data it is possible to create accurate and video games, and enjoys hard surface modelling
representations of an object. profile: myminifactory.com/users/Stefanos
01 Choose your subjeCt 02 Find a loCation 03 set up the loCation
Find a subject to photograph. For an ideal Ideally you want to photograph on an Another important element to get right is
scan, make sure that the subject’s clothing overcast day as this is when the colours are to ensure that the background has contrast
is neither too dark nor too light as this most muted. Be aware that when there is against your subject. This is because the
can confuse the exposure of the camera. strong sun above the subject, it will cause camera will pick up points of reference
Anything that is too over- or underexposed is extreme areas of contrast and shadows that behind the subject in order to join the
missing tonal data and therefore will not be can distort the scan. You can photograph photographs together. Take a few test shots
picked up by the camera. indoors, if you prefer. if you’re not sure and see how they look.
The words you are searching are inside this book. To get more targeted content, please make full-text search by clicking here.
3D Make & Print - 14th Edition, 2021
Discover the best professional documents and content resources in AnyFlip Document Base.
Search