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Medium 9781449338657

8. Designing for the MakerBot

Bre Pettis Maker Media, Inc ePub

In which we provide the reader with detailed tutorials on how to bring envisioned objects into 3D printed reality.

Now that you have experienced the instant gratification of printing, it is time to explore the rapid prototyping capabilities of your MakerBot by designing your own things. You probably have many project ideas already and this is most likely why your purchased a MakerBot in the first place!

Once you understand the general design constraints of 3D printing you will be able to start creating your very own things. In this chapter we provide an overview of a variety of 3D modeling programs and tutorials that will get your desktop factory cranking out your own designs in no time!

While there are several general considerations when designing for a MakerBot desktop 3D printer, none of these are actual constraints. As long as you keep these considerations in mind, any of them can be addressed in the design.

When designing your models, you should take the Replicator 2s equipment capabilities into account. A MakerBots positioning resolution is in the sub-millimeter range. For the Thing-O-Matic, the X and Y axes can be controlled to within 85 micron (about 0.003") and the Z stage to within 4 micron (0.0002"). The MakerBot Replicator and Replicator 2, with their improved frame and superior electronics, can position the print head on the X and Y axes to within 11 microns (0.0004") and the Z stage to within 2.5 micron (0.0001").

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Medium 9781449372569

13. Designing with Data

Claire Rowland O'Reilly Media ePub


The IoT will enable access to vastly more data about the world than we’ve ever had. By 2020, some analysts estimate that 10% of all digital data will be generated from connected devices.[203] Industrial applications may account for a large chunk of this, but data is also becoming part of the fabric of consumer products. Designers need to understand how to work with information as a “design material.”[204] What can be captured? How should it be interpreted and what insights can be derived? What new products can be developed and what previously unmet needs can now be addressed? And how do we go about designing compelling, valuable, secure, and trustworthy experiences using data? How can we help bring new insights to users through product design, and design products that behave smarter?

This is a rapidly evolving field, covering multiple topics each of which could easily be a book in its own right. In this book, we aim to provide an overview of the key issues.

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Medium 9781937538583

Capture & Import

Stephen Laskevitch Rocky Nook-IPS ePub

Although this chapter will not discuss every possible setting and button on the camera(s) you use, I will ensure that you will know the important things to find and configure.

The bulk of this short chapter will be the myriad import settings found in Bridge (or rather, its companion, Photo Downloader) and Lightroom. Especially if Lightroom is your main image organizing application, be sure to read the File Management section in chapter 5 as well.

This book predominantly focuses on post-capture workflow. However, I will make a few suggestions on ways to capture images to make that workflow work.

By choosing raw, you give yourself every bit of data that your sensor captured. With any other choice, some assumptions are made as to how the image will be “developed.” See your user guide to set your camera to raw.

Photojournalists sometimes have a need to capture in a mode that some cameras offer called raw+JPEG. This way, they can upload the smaller JPEGs to their publisher(s), but still have the valuable raw data to process more carefully later. Most users don’t need the added JPEG.

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Medium 9781449338657

A. Suggested Reading and Resources

Bre Pettis Maker Media, Inc ePub
Medium 9781449372569

10. Interoperability

Claire Rowland O'Reilly Media ePub


Much of what we currently call the “Internet of Things” is not yet much like the rest of the Internet: a network of networks based on open standards. The proliferation of different technical standards means that getting devices to work together is hard. Many devices are locked away in proprietary ecosystems, because frequently that is the easiest way to get them to work. But their lack of interoperability with other devices and systems is seriously limiting its potential value and usability. Users will expect devices to work together, but right now many do not.

Building on the networking concepts discussed in Chapter 3, this chapter explores the technical challenges of interoperability (and some emerging solutions) and their impact on UX.

This chapter introduces:

Why the current state of the Internet of Things has been dubbed the “CompuServe of Things” (see The CompuServe of Things)

The concept of interoperability and the problem it poses for IoT (see What Is Interoperability and Why Is It a Problem?)

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Medium 9781937538583

Organizing & Archiving Images

Stephen Laskevitch Rocky Nook-IPS ePub

Digital photography has made it easier for photographers of any level to quickly build massive libraries of images. Large-capacity hard drives are so affordable that we may easily store several terabytes of image data. The difficulty, then, lies not in capturing enough images or having enough room for them, but in efficiently rating their quality, processing the best images, and finding them again swiftly when we need

them. And because hard drives fail eventually, we need to arrange a backup procedure that is dependable and easy.

But organization is a personal thing: what makes sense to one user may be a bad fit for another. In this chapter, I’ll discuss several approaches to rating images from which you may derive your own. Likewise, the storage and arrangement of your image files should make it easy for you, not me, to access them. So the approaches I discuss will need to be tailored to your personality. That said, be sure to read the entire chapter before committing to a system. Both Bridge and Lightroom offer many ways to categorize your images, and it’s not about how to nest folders anymore.

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2. The House That MakerBot Built

Bre Pettis Maker Media, Inc ePub

In which this universal tool grants new eyes to see your world, the power to make almost anything, and the ability to solve problems that couldnt be solved before.

When you have a Makerbot, you start looking at thingsand if you want them, you think about making them with your MakerBot instead of buying them. When things break, you could start stressing out about where youll find a replacement part, but when you have a MakerBot, you start thinking about how you can make your own part to fix it.

In our consumer-focused, disposable world, a MakerBot is a revitalizing force for all your broken things. Having a MakerBot allows you to make things instead of buying themand in a consumer-focused world, thats a super power worthy of a superhero!

Besides fixing things and creating them from scratch, you can invent new things and develop alternative solutions to problems. With the cost of filament so low, the cost of failure is low and that means that its not going to cost you very much to try out an idea; if it doesnt work, you can adjust the design and try it again and again. This ability to iterate is a powerful force in the universe and it makes you unstoppable. So many people try something and if it doesnt work, they give up. With the ability to iterate and make things over and over again, you can become an unstoppable force of iteration and inventionand youll try and try again.

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Medium 9781491907092

1. On the Merits of Letters

Jason Pamental O'Reilly Media ePub

Let’s talk just a bit about typography, its history, and its impact on design. From the first written words, letters have been the vehicle through which meaning and knowledge have been conveyed. That job is performed in more than one way: the words the letters form impart meaning, but the shape of the letters themselves can make an important contribution.

While this book isn’t meant as a complete stand-in for a true typography textbook, I’d be remiss if I didn’t explain some of the key terms and concepts before we dive in:

Consider the images conjured by the lettering on a stereotypical Chinese restaurant takeout menu, or a poster advertising an old Western movie, or the opening credits to the show M*A*S*H (see Figure 1-1). Or Apple’s “Think different” campaign. Or picture any of the classic IBM ads, with their headlines set in those distinctively exaggerated thick-and-thin stroked letterforms. It’s hard to use Bodoni without that coming to mind, at least in some subconscious way. That’s pretty effective branding when a company can own an entire typeface in our collective consciousness.

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Medium 9780253014092

Conclusion: What Fashion Shows

Victoria L. Rovine Indiana University Press ePub

Fashion is cultural identity.

—Abdoulaye Tembely, writer, Coura magazine, Bamako, 30 July 2008

I look for materials that have a story, passion, a soul.

—Anna Getaneh, designer, organizer of African Mosaïque fashion shows, Johannesburg, 20 May 2008

Anyone looking for a few masks or leopard spots will be disappointed.

—Duro Olowu, Nigerian designer 1

African fashion offers abundant insights into cultures, both close to home and distant, real and imagined. Through garments, designers tell stories about history, heritage, and global networks of style, as well as the perpetuation or revival of local dress practices. Fashion also provides a medium for portraying or inventing other peoples’ cultures, offering a highly visible forum for projecting impressions and preconceptions. This concluding chapter reiterates and expands on these stories through two media that make African fashion, and fashion everywhere, widely visible far beyond the limited number of consumers who can afford to purchase designer clothing: fashion shows and fashion magazines. It also returns to cosmopolitanism—and the closely related concept of Afropolitanism—as frameworks for elucidating Africa’s fashion manifestations, exploring how dress practices both illustrate and complicate these notions.

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Medium 9780596155117

11. Presentation: Showing off Your Model

Bonnie Roskes O'Reilly Media ePub

You've worked hard on your model, and now you want to show it to a boss, a client, a friend, or the whole world (if you upload it to the 3D Warehouse). It's easy enough to hand over your .skp file and walk away, but if you really want to knock their socks off and show them exactly what you want them to see, it's important to understand SketchUp's model presentation tools: layers, scenes, shadows, and sectioning. (Styles are also important, and they are covered in Chapter12.)

Although some of these tools are not used exclusively for presentation, each can play a role in showing your model in exciting and interesting ways. When you understand each of these tools and learn ways to combine them, you'll become an expert at communicating your designs.

The tools and techniques described in this chapter are available in the Free and Pro versions of SketchUp. SketchUp Pro users also have the benefit of the LayOut program, which is an application for presenting 3D models in a 2D format. LayOut has advanced features for view presentation and annotations such as dimensions and callouts. If you are not a Pro user, read about LayOut on SketchUp's website, and you may be convinced to become one.

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10. Becoming Part of the Thingiverse Community

Bre Pettis Maker Media, Inc ePub

Wherein the MakerBot Operator earns citizenship in a ribald community. To be accepted as a true MakerBot Operator, one must share designs on Thingiverse, but all are welcome to reap the bounty of shared digital designs for physical objects. Allowing others to modify your design sets your design free to fly like a bird from the nest.

Thingiverse (http://www.thingiverse.com/) is a website where users from all over the world come together to share digital designs for making physical objects. For this reason, its sometimes called the "Universe of Things". User-contributed things have files of all kinds, from 3D files that you can build on your MakerBot to 2D files for laser cutting or CNC milling, to circuit board designs that you can order online or build yourself at home. In addition to the files themselves, each thing has computer-generated renderings of those files, pictures of physical copies of the finished thing, instructions for how to assemble the thing, and a discussion section where users can collaborate, suggest improvements, or even just show their enthusiasm for the work of the things creator.

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9. Scanning in 3D

Bre Pettis Maker Media, Inc ePub

This is all experimental. There is no way.

Bre Pettis

Welcome to the bleeding edge.

You no longer need an expensive high end 3D scanner to create good quality scans that are suitable for 3D printing. There are now an increasing a number of affordable ways to digitize physical objects. Some of them require additional hardware with a RGB camera and depth sensors, like a Microsoft Kinect or a ASUS Xtion shown in Figure9-1 (see Kinect vs. Asus Xtion for a comparison), but you can also use your phone or a digital camera to capture images. These images can then be converted into 3D models, cleaned up using mesh repairing software and then printed on your MakerBot.

Figure9-1.The Microsoft Kinect and ASUS Xtion

A 3D scanner collects data from the surface of an object and creates a 3D representation of it. The Kinect and Xtion both work by beaming infrared light at an object, and measuring how far away each reflected point of light is. It then turns each individual point into a collection of points called a point cloud (Figure9-2). Each point in the cloud is represented with an X, Y, and Z coordinate.

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Stephen Laskevitch Rocky Nook-IPS ePub

Output is the creation of what I call deliverables, whether that is a print, a book, a web site, or a digital file.

Printing should be easier than it is, especially after all these years of digital imaging. Improved with each release of Photoshop, the method I outline is simpler than ever. But since it uses profiles that describe your printer’s characteristics to achieve stunning consistency and optimal results, you’ll have to keep focused nonetheless. This method can also allow you to experiment with many more papers than your printer manufacturer supplies.

Some photographers like to produce books of their work. Lightroom’s Book feature makes this a convenient possibility.

Today, more images are placed onto the web than printed. The web has become a primary medium for communication, and images are as important on the web as they are for any print media. This chapter covers some considerations for web images and details those features that are useful for creating them. It does not describe the entire process for creating websites, nor for creating complex web elements like rollovers and buttons, as these topics would certainly require much more space than these few pages.

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Medium 9780253349118

5. Weaving Saris

Pravina Shukla Indiana University Press ePub

BANARAS HAS BEEN A CENTER for the production of exquisite brocaded saris for centuries. The colloquial name used throughout India for these saris—the Banarasi sari—implies a continuous association of the beautiful saris with the city where most saris of the type are still made. Saris are woven in the Muslim neighborhoods of Banaras: handwoven in Madanpura and Sonarpura, and manufactured on power looms in Alaipura. Dalmandi, the other main Muslim neighborhood, is the market center for readymade clothes; saris are neither woven nor sold there.

A significant portion of the residents of Banaras are involved in the sari trade in one way or another. Thousands of men (and a smaller number of women) work as weavers, a few of them ranked as masters. Some weaving families have been involved in the trade for generations; others turn to it intermittently to earn extra cash. Kanhaiya Kevat, for example, a charismatic boatwallah we met on the Ganges, explained that besides rowing a boat—and working out at the local wrestler’s club, which is his favorite activity—he also weaves saris part-time. Many weavers are journeyman workers under the supervision of the families that have owned workshops for generations. These families of Muslim masters, who bear the surname Ansari, occasionally hire a few Hindu workers, such as Kanhaiya Kevat, who is not by caste a weaver.

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6 The Culture Wars, Then and Now

Jo B. Paoletti Indiana University Press ePub

It has been over fifty years since the confluence of youth culture, sexual revolution, and civil rights activism set the culture wars in motion. Judging by the present state of affairs, it may be another half century before the many questions raised in the 1960s are finally resolved. I wrote the bulk of this book in 2013, a year punctuated with important fiftieth-anniversary observations. The year 1963 was a watershed. It was the year that brought us the Beatles, The Feminine Mystique, the Great March on Washington, and the Kennedy assassination. The teenagers of 1963 are in their sixties now but still arguing about many of the same contentious issues that have occupied us since junior high. Commentators originally attributed the rifts in our society to the perennial conflict between youth and age, but the generation gap has faded with the passing of our own grandparents and parents. To paraphrase Pogo, we have met the culture warriors and they are us.

In the preceding chapters I have described the major battlegrounds as revealed through dress. In this chapter I use the same lens to examine what our current gender controversies and quandaries owe to the unfinished business of the sexual revolution. Finally, I ponder what may lie ahead.

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