#this post is about 3d printers never working right

[pc-98s]

i love 3d printing! would love to do it someday.

[canisxx]

Hey chat! I decided that I don't care if you care or not, I'll post it anyway. Because I'm a scientist nerd, and a TF2 fan.

So here you go, my theory on how the respawn machine actually works.

⚠️It'll be a lot of reading and you need half of a braincell to understand it.

The Respawn Machine can recreate a body within minutes, complete with all previous memories and personality, as if the person never died. We all know this, but I doubt many have thought about how it actually works.

Of course, such a thing is impossible in real life (at least for now), but we’re talking about a game where there’s magic and mutant bread, so it’s all good.

But being an autistic dork, I couldn’t help but start searching for logical and scientific explanations for how this machine might work. How the hell does it actually function? So, I spent hours of my life on yet another useless big brain time.

In the context of the Respawn Machine, the idea is that the technology can instantly create a new mercenary body, identical to the original. This body must be ready for use immediately after the previous one’s death. To achieve this, the cloning process, which in real life takes months or even years, would need to be significantly accelerated. This means the machine is probably powered by a freaking nuclear reactor, or maybe even Australium.

My theory is that this machine is essentially a massive 3D printer capable of printing biological tissues. But how? You see, even today, people can (or are trying to) recreate creatures that lived millions of years ago using DNA. By using the mercenary’s DNA, which was previously loaded into the system, the machine could recreate a perfect copy.

However, this method likely wouldn’t be able to perfectly recreate the exact personality and all the memories from the previous body. I believe the answer lies in neuroscience.

For the Respawn Machine to restore the mercenary’s consciousness and memories, it would need to be capable of recording and preserving the complete structure of the brain, including all neural connections, synapses, and activity that encode personality and memory. This process is known as brain mapping. After creating a brain map, this data could be stored digitally and then transferred to the new body.

“Okay, but how would you transfer memories that are dated right up until the moment of death? The mercenaries clearly remember everything about their previous death.”

Well, I have a theory about that too!

Neural interfaces! Inside each mercenary’s head could be an implant (a nanodevice) that reads brain activity before death and updates a digital copy of the memories. This system operates at the synaptic level, recording changes in the structure of neurons that occur as memories are formed. After death, this data could be instantly transferred to the new body via a quantum network.

Once the data is uploaded and the brain is synchronized with the new body, the mercenary’s consciousness "awakens." Ideally, the mercenary wouldn’t notice any break in consciousness and would remember everything that happened right up to the moment of death.

However… there are also questions regarding potential negative consequences.

Can the transfer of consciousness really preserve all aspects of personality, or is something inevitably lost in the process?

Unfortunately, nothing is perfect, and there’s a chance that some small memories might be lost—like those buried in the subconscious. Or the person’s personality might become distorted. Maybe that’s why they’re all crazy?

How far does the implant’s range extend? Does the distance between the mercenary and the machine affect the accuracy of data transfer?

My theory is that yes, it does. The greater the distance, the fewer memories are retained.

Could there be deviations in the creation of the body itself?

Yes, there could be. We saw this in "Emesis Blue," which led to a complete disaster. But let’s assume everything is fine, and the only deviations are at most an extra finger (or organ—not critical, Medic would only be happy about that).

Well, these are just my theories and nothing more. I’m not a scientist; I’m an amateur enthusiast with a lot of time on my hands. My theories have many holes that I can’t yet fill due to a lack of information.

[papersnakepress]

I had a message the other day asking (among other things) what kind of tools and equipment I use in making books, and as it's something I like to go into detail on, I realized I couldn't fit everything I had to say in a message so it's getting its own post. With photos!

Disclaimer that I'm not a professional bookbinder, I'm entirely self-taught and probably have habits and practices that would drive a pro nuts. I'm no authority, but these are the things that have worked for me, and maybe you can adapt them to work for you too.

This post will not cover: storage options, materials like board and glue, or equipment specific to one narrower aspect of the hobby like embossing or gilding. It is also not a tutorial on how to make a book, though I am covering things in more-or-less the order I use them in during the book-making process.

This post will cover: What I've found useful, what I've regretted buying, and some things you can co-opt from other, more common hobbies. A lot of it you may already have in your house. Some of it is for beginners, some is nicer equipment you might want as you get further into making books. They are not separated, it's just a list and some description.

Keep reading below the cut; this is gonna be a very long one and there are a lot of photos of everything.

If you want to make books you will need access to a printer. I'm not going to go into detail on this part and I didn't take a photo of my HP (not the best brand, but that's a long discussion in and of itself). Once you've got your pages printed and it's time to fold it into signatures, it helps to have a folding tool like these:

Folding tools can be anything as long as they're smooth and flat. The one on the left here is an actual bone folder from an art supply shop, but the center one is a plastic leatherworking tool that I got at Hobby Lobby, and the one on the right is an agate burnisher that I got from Amazon. None of these cost more than $10, and you can also use the edge of a pen (as long as it has no rubber grip or cap/clip) or the back of a spoon. Or your fingers, but the tools make it faster and the folds are more precise. I once worked a job where I had to fold maps, and all my coworkers were wondering how I did them so much faster and why mine were flatter than everyone else's, and it was because I'd grabbed a sharpie and started using the back end like a bone folder.

Once it's folded, you'll need to poke holes for sewing. I use one of these:

Left is, again, an actual bookbinding awl from an art supply store, while the center one is a paper quilling tool and the right one is a beadwork awl, both of which came from a big chain craft store. The bead one is my favorite; it's a good size and very stable. The quilling thing has too long and thin of a blade and it's wobbly, and I don't like the tapering on the bookbinding awl. It tends to make the holes in the middle page too big, and the outer ones too small. Again, these were cheap, about $10 each, but you can also use a sewing needle stuck in a cork, or a thumbtack or pushpin. If it's pointy and rigid, it'll work.

This isn't a requirement by any means, but I've found I like having a punching cradle for the hole-poking step. I got this 3d printed one from a fellow bookbinder, who was designing their own and made this one as a prototype. There are a lot of tutorials on how to make a punching cradle, or you can buy them online from several different vendors. They don's all look like this, and you can make them from wood or cardboard (though those don't usually have guide holes). If you're just starting out or this doesn't appeal, you can just use a paper template like the one on the far right. The cradle helps get the holes lined up and evenly spaced, and I've never liked this step so anything that makes it faster and less fussy is a win. If you use this kind, check that your hole-poking tool fits in the guide holes--the binding awl pictured above doesn't, but the other two do.

We've made holes, so let's stitch them up. These are just regular sewing needles and beeswax, to make your thread less prone to tangling. You can get both of them in any store that has a sewing department. There are dedicated bookbinding needles, like curved needles, and some binders like them, but I've never gotten the hang of the curved ones and they aren't necessary, especially when you're just starting out. If it fits through the holes you made, it will work.

Once it's sewn, you probably want to squish your new text block so it's flat. I've got a laying press that I bought a couple of years ago when I was first getting started. It was marketed as a book and flower press, and it's honestly not the best. I would probably not have bought it if I had known that it wasn't essential to the process, and I mainly use it now when I'm squishing a text block and still want to use my work space, because once it's tight I can move it somewhere else. You can really use almost anything for squishing as long as it's heavy and flat and rigid on one side, like the stack of books in the right-hand photo. Textbooks, encyclopedias, art and photo books, and comic book omnibuses are all great. I've seen people use all kinds of things, like paper-wrapped bricks and doorstops, and there are tutorials out there to make your own press out of cutting boards if you do want one.

If you like your books to have smooth, flat page edges you're going to have to trim them. This is a book plow from Affordable Binding Equipment, and it was the first piece of actual expensive equipment that I bought. Not all plows look like this; I think the design is unique to ABE, but I've never used the traditional kind. In the interest of full disclosure, you can also trim edges with a sharpened chisel, which is much cheaper and can be bought at any hardware store, and some binders love this method. I do not love this method and have had zero regrets about caving and getting the plow. Very easy to use but does require some grip strength. Not pictured: the setup for sharpening the blade, which isn't hard but requires a bit of space and a small sheet of plate glass that you have to source yourself. Even with that, I still prefer it to the chisel. That said, this is not an essential step and you can leave your books with a "sawtooth" or deckled edge. Most of my early books have them, and some people just like them better than the flat ones and never learn to trim them. As another side note, some tutorials will say that you can trim your edges flat with a knife. You can't. Maybe on a pamphlet you can, but if it's more than 10 or 20 pages you just can't. It will look terrible.

If you're going to use a plow, you've got to have the right kind of press. The one I talked about further up the thread is the wrong kind (full disclosure: I did use it with that press turned on its side, before I bought this one. But it's harder, more time-consuming, less comfortable, and less safe. Don't be like me). So here's a photo of my finishing press (also from Affordable Binding Equipment). I bought it so I could make backed books, but I use it for trimming too. The top part here has a narrow tapered section for backing, but if you flip it over it's totally flat, which is what you need for trimming. Not pictured: the stand that it came with for backing, or the c-clamps that I use to attach it to the desk for trimming. Again, though--this isn't a requirement for bookbinding. This is a later stage that's entirely optional. On the subject of backing, though:

You don't need special equipment to round the spines of your books, but you do for backing. Left image is the set of backing boards I got from, once again, Affordable Binding Equipment, and on the right is a backing hammer from Hollander's. Neither of these are essential. Even if you get the boards (which have to be used in a press with a tapered edge, like the one directly above) you can actually use a regular hammer as long as the front part has no scratches or gouges. This one is a backing hammer, the primary difference being that it has a wider, convex head than a regular household hammer, to make the kind of glancing blows needed for backing a little easier. Honestly, I'm still learning how to use these and I'm not very good with them yet. Comes of being self-taught, probably. I don't think youtube is the best vehicle for learning this part, but it's what I have and I'm making do. Not every book is going to benefit from backing, either; it's primarily for helping mitigate spine swell.

Okay, time for my favorite repurposed equipment hack.

It's bookends. Regular bookends that I've had for ages and that probably came from Ross or some other place that doesn't even sell craft supplies.

Want to keep the text block upright while you glue it? Bookends. Want to sew some custom end bands but your text block keeps falling over? Bookends. They won't provide pressure for squishing, but if you just need to hold something upright while you work on it, bookends are the answer. They hold up books, it's right there in the name. Having said that, you want some with a little weight to them, like these agate slices, so they won't slide around. And you want something with a smooth finished edge like these, so they won't scratch up your text block or leave dents. I have other sets but these are the only ones I use for this purpose, and they're better for it than anything else I've got.

Moving on from making the text block, let's look at what I use to make covers.

It's appeared in the background of most of the other photos, but here's a photo of just the desk surface covered in cutting mats. I really recommend a mat to protect the surface of your furniture and keep your knives from going immediately dull. I've got a big one that covers almost the full surface, and a small one for when I want to be more mobile. I started with just the small one and it was good until I started working with larger sheets of paper. The big one was bought largely for convenience but I have no regrets about it. They're self-healing, non-slip, and you can get them in the sewing section of any big craft store.

I'll be honest, I am not big on knives. I've got a regular box cutter for trimming board, and a razor knife for paper and cloth, and that's it. There are a lot of kinds and really all you need is one sharp blade for board. Paper and cloth can be cut with scissors if you want, though I find I get more consistently straight lines with the knives. Also pictured: Metal rulers and a T-square. You want a metal ruler for this. Plastic will flex and wood won't lay flat. Ideally you want one without a cork backing (my 18" one has this problem) and with the tick marks etched in rather than printed (my 12" one has this problem). For larger sheets of paper and cloth, the 18" one is great, but you can get by with the smaller one. The T-square is for making right angles; mine is plastic and only 12", and I really wish I had a longer one that was metal. These are drafting tools and you'll find them in the section of the craft store that has easels and sketch pads and they're usually pretty cheap.

This is an adjustable compass. You can probably get these at craft stores but I got mine on Amazon. It's for measuring hinge gaps and the width of spines, both essential for making sure your cover fits your text block and your hinges open the way they should. Both of those are incredibly frustrating situations, and this thing makes it so much easier to avoid them.

Things to spread glue with! Any old paintbrush will do, though I like to have a few different sizes and textures on hand to choose from. I like the big one for cover boards and casing in, the mid-size ones for doing turn-ins, and the little fellow for details and touch-ups. I don't care for foam brushes because I find them hard to clean when glue is involved, but if you like you can use those. The metal thing on the left is a micro-spatula, and I did have to special order it from an art supply place but it was cheap and it's very helpful to have on hand for when the brushes are too thick, for doing turn-ins on rounded spines, and for separating pages if you decide to learn edge foiling. Not essential, but recommended.

One thing I neglected to take a photo of is my crepe eraser. Despite the best intentions, no matter how careful you are, you will at some point get glue where you don't want it, where it will be visible on the finished book. This is where the crepe eraser comes in; you can use it to remove dried glue from cloth or (to a lesser extent) paper. Very annoyingly, none of the craft or art supply places I went to had even heard of these and I had to get mine from Amazon. It was cheap (under $10) and I strongly recommend getting one.

Once your cover is made, you have some options. You can leave it blank, hand-letter or draw an image, stamp it with ink or embossing powder, use a stencil, or do what I usually do these days and make a cover graphic from HTV. I've got a cricut for this (though they're not the only kind of cutting machine; it pays to research other brands) and a mini heat press (I want a bigger one, but I got this one cheap because the box is messed up). A lot of libraries have cricuts you can use, and you can use a regular iron to apply the HTV. Getting it to stick is a bit tricky, but that's true no matter which tools you use. Not pictured: a cutting mat, different than the kind shown above, necessary with most materials you can cut (mine came with one, they're about $20 at most craft stores, and they're lightly sticky to keep your materials in place while it's being cut). I don't know if other brands require them, but cricut does unless you're using their Smart Materials (I have never used these). If your library has a cutting machine, they will also have the appropriate cutting mats. Also not pictured: weeding tools. Weeding is when you remove the bits of HTV that you don't want in the final image, usually the spaces between letters and such. The negative space, if you want to get artsy. The special tools cricut sells aren't necessary, you can use an awl or needle and the dull edge of your knife blade, but I have a set of theirs and I like mine.

I didn't take a photo of it, but sometimes I use embossing inks and powder to make cover designs and text. You only need a heat gun for embossing powder, it takes up way less space than the cricut does, and it's cheaper. I got mine free from a family member so I don't know what it cost initially, but cutting machines are a really big expense; the cricut is my third most expensive piece of equipment, after the finishing press and the plow.

Good god I think that's everything. It sounds intimidating, I know. And it sounds like it takes up tons of space in your home, and to be honest it can, but it doesn't have to. The first dozen or so books I made, I made completely to my satisfaction with tools and materials that fit in one 12x16" moving box. If you love the hobby and can make the space, the bulkier items might be worth it down the line, but especially when you're first getting started it's smart to keep things low-cost and compact. Most of the basics are simple and your fellow bookbinders are delighted to share their shortcuts and substitutions if you ask.

The end! I hope it was helpful, @cardassianexpats! I did warn you it would be wordy, lol.

[wishjacked]

Happy #WebcomicDay!! :D

This year we're celebrating the process of making pages... so below the cut I've got a bunch of pictures sharing how I go about making pages of my evil post-apocalyptic workplace sitcom, Cargo!! :D

So! My process!!

Writing-> I think sometimes there's pressure to "write" your comic a certain way, I see people talking about script format and stuff a lot. That really doesn't work for me, though! I write my "first draft" script in short scenes on scrap paper, in whatever order they come to me. Sometimes a scene will just be one or two lines, and then a little description of what I want to happen in the rest of the scene.

Later I type the scene up, and write the "connective tissue" that fits between the disjointed scenes so they all flow together like they ought. I don't do page breaks or even character tag or action notes hahahaha I like it to be as BASIC as POSSIBLE so it's easy to edit. And since I'm the person drawing it I can almost always remember who's supposed to be saying what lmao

I edit a lot, but the most major editing is also probably the last bit... when I letter my pages usually I realize "they would never say that" and so I end up rephrasing everything. My art brain is sometimes waaaaay better at phrasing hahaha. Like you can see in the finished page for this script I rewrote like basically all of it, and actually went back to the original "sketch" script in a lot of places.

Thumbnailing-> my thumbs are really big, I draw them with markers on printer paper and keep them in a binder!! I like to thumb scenes in batches and I also usually write my dialogue on them, just so I can read through them before (and while) I draw to get a feel for how the pacing works. :)

Sketching-> OH sketching is also really hard for me! I don't have a good visual imagination so it's really important for me to make sure I have good references. Last year I was especially focusing on setting.

My comic is set in Florida. I'm lucky in that I used to live there and still go back to visit sometimes, so sometimes I can gather my own reference images! But more often I start on Google Maps or Zillow, trying to find buildings that have interesting features or the right kind of "look" for what I want. I'll also look up other interesting elements, my comic is set in a post-apocalypse and I'll research home gardening and things like that which people would probably have.

For example, in this set in chapter 7, I used Google Maps images, photo references of indoor hydroponic gardening, and like, 90's-00's hacker computer setups haha. Also my BFF Roomstyler.com, where you can make 3d house interiors haha!!

Lineart-> I LOVE lineart it is my favorite!!!! I sketch and ink two pages at a time, and it usually takes somewhere between 10-12 hours to do both steps.

I actually think my art looks best when it's just lineart... but I think my STORY is better with color, like it makes it clearer and easier to read and it has a better atmosphere HAHA.

Colors-> I think it usually takes me 4-6 hours to do 2 pages (I haven't timed myself as consistently as I time my lineart and sketching). I have a big file with small copies of my previous pages that I color drop from, and my characters are all flats only. The limited palette that I use is also really handy, it streamlines coloring a LOT.

Finishing Touches-> aka I steal mercilessly from my one true love, my internet home, the beautiful and blessed Wikimedia Commons

I put lots of overlay layers on my art! I like textures so having some strange little textures or pictures on things makes my art feel a lot more finished to me.

And finally my very most favorite ✨finishing touch✨ is the bright colored/patterned gutters that I use. Here are some of my favorites that I've made and used in the past!

And that's all!! I hope you guys have a very happy Webcomics Day and find lots and lots of wonderful new things to read!!!

[pjunicornart]

Lazy Days Info Dump pt. 2

You read the title. Let's do this.

SO. I've been brainstorming ideas for the others characters within this AU, as in, the other Robinsons. These will just be little character bios, and these were made recently. So everything you see here is subject to change!

Lucille Still as lively as ever! When she's not baking or sewing, she's swimming in her family's pool. She tries to stay positive after the death of her husband, Bud... and that meant going to grief counseling.

Gaston A streamer/online personality. He started off by playing FPS games, but nowadays he's interested in the likes of indie games, especially indie horror. Yes... the other Robinsons have appeared in his videos on occasion. Like that one time Neil and Gaston made a "gingerbread house."

Art An intergalactic bounty hunter alah Celeste from HuniePop. It's from this job he met Lefty, and rescued her from danger. He's often away from the family for weeks at a time, but he makes sure to bring home cool alien artifacts for the kiddos for when he returns.

Fritz He makes OOAKs with old play line fashion dolls. He has the whole shebang... the 3D printer for more complex projects, the matte varnish, the sewing patterns, clumps of doll hair, a rooting tool, etc. He posts his creations online.

Petunia Not a puppet! She is still very much alive. Her first husband wound up in prison. He can rot in there for all she cares, because Fritz is a better man. He supported her dream of becoming a lawyer.

Tallulah A world famous model for a high end lounge, lingerie, and sleepwear brand. Her personality is inspired by Ashley's from HuniePop 2. Very chill and laid-back. Also the type to ask fucked up questions.

Laszlo Due to trauma from his past he'd rather not talk about, he's very intertwined with the internet aesthetic known as "Traumacore." This reflects in his digital art, using pastels and cute character designs mixed with dark and disturbing imagery. It's a coping/comfort mechanism for him. He's working on a graphic novel with this style.

Joe After undergoing bariactric surgery, he's taking his personal health a lot more seriously. His positive attitude online and drive to become a better him has landed him multiple brand deals.

Billie The hands on type. The type of girl to get her hands dirty building and painting model trains. She collects vintage and newer toy trains and displays them proudly on her shelf. Well, multiple shelves, actually.

Carl Built with a more cozy, humanoid appearance, he's the family's right hand robot. He's programmed with thousands of ways to enhance the family's daily lives, as well as advanced hardware to make him a truly intelligent AI.

Lefty The maid of the household. Her home planet was a desolate ocean, where a rogue group reined supreme. Now that she's on this exciting, new environment, she eagerly looks at everything with an intense curiosity.

Doris The butler. She's got some sass to her, I'll say that... She's got the same hardware that Carl has, so her developing her own personality was nothing to write about for Neil.

Spike and Dmitri Alien twins who were also rescued from one of Art's missions. They were never given names on their home planet, so the family gave them names. For some reason, they spend most of their day in the garden... sitting in flower pots. Maybe it's because their home planet was very lush? Who knows...

For more info about the AU in general and bios for the other characters, refer to this post -> Lazy Days Info Dump. For busts of the other members of the family, refer to this post -> Lazy Days Character Busts. Still wanna know more? Ask box is always open.

[this-world-of-beautiful-monsters]

And this is just a bonus one I thought of but Grace and 24 Capitalism 👁️👁️

Story is also posted on ao3!

(tw capitalism, mentions of colonialism, mentions of racism/speciesism, trauma, mentions of cigarettes/alcohol, addiction, grief, past canonical character death, identity issues, implied dehumanization, hallucinations, unreality)

It's not as if they have a problem with expense. Fuck no, of course not. They can find the cash for their fucking war machines, their stupid goddamn spaceships, their love children born on a planet where they'll never be able to breathe the air. The cash for their guns and explosives, for their dozers rolling over the ground, for pressed suits and cheery propaganda vids and everything single one of the politicians in their pockets.

And oh, they've got the money for her as well, Grace knows all about it, a special set of funds to keep their little labcoat safely in line. The killing ground school, the botany book with a Na'vi face on the cover cause it's all just wildlife, doc, remember that, the cigarettes to keep her strung out and numb, the alcohol when that's not enough.

Never enough, not for them, sure as shit not for her. Her hands shake, she's fiddling, muttering, things slipping through her hands. Focus, Augustine, fucking focus. She's only got so many cigarettes, the 3D printers only work so well (as well as they're supposed to, heh). If Max is hiding them again she's going to fucking--

Cash. Right. Money, profit, power. Expense. They'll make a body, grow it in a tank like a promise, but if shit goes down, a bloody murder on a planet she can barely remember, happening six years and a million lightyears and last week ago--well, they can't take the fucking loss, oh no, they're going to stuff in some random jackass marine, pulled off one conveyor belt and shoved onto another.

Like it's that simple. Like it's all just meat, isn't it, they all are, deep blue company logos hanging heavy over her skin, sinking into her bones until she feels it even when she's physically out of the link. Jake Sully shrugging into his brother's skin and grinning at her, Jake Sully with Quaritch's brand stamped onto his soul, Jake fucking Sully coming out of the Soul Drive upload room with jagged, defiant eyes.

There are some things that cannot be bought, Mo'at says, her hand wrapped around Grace's throat. Not enough to choke, not enough to hurt, just enough to make the point, to prove that tonight, Grace was not worth the suffocation. I had thought you learned this, if nothing else.

In a way, the rejection had been a relief. No need to try and twist everything into a knot trying to justify the application into a knot, no excuse to get shot in the head months down the line for trying to grow a rogue body on company resources. None of Sylwanin's DNA, so no watching her grow in the tank that would be Sully's, no waiting to see whatever would be left if you hooked an empty Avatar into the Tree of Souls, if you'd get something like a return or nothing, nothing, nothing...

No breath. No life. No meat, or at least not enough of it to go around, not enough bodies to go around. Just cold, hard cash and an ache in the pit of her stomach as she scratches meaninglessly, thoughtlessly, because where the hell are her cigarettes. Where the hell are her--

A hand on her shoulder and she yelps, something undoubtedly expensive slipping through her fingers and clattering to the floor.

"Jesus, Marine," she snaps, because it's Sully, of course it's Sully, standing there with a stupid look on his face and hair slipping out of his braid. Grace shoves him off with a huff. "Personal space, remember?"

She turns back to her work, eyes narrowed. A stack of bundles...shells? Grace frowns. When had she been collecting shells?

"I don't suppose you know what happened to my cigarettes," she mutters, glancing up at Sully. He's still standing there, stiller than she's ever seen him, wearing an expression she can't quite read.

"Marine?" Grace waves her hand in front of his face, but he doesn't respond. "You read me?"

He opens his mouth, but before he can say anything there's another voice, young, feminine. "Kiri?"

Grace turns her head, frowning. There's a Reef Na'vi girl walking towards them, wearing Metkayina garb–Metkayina? When had the Metkayina been visiting the Omatikaya?

"Kiri?" the girl asks, looking worried--looking at Grace. She takes a step forward and Grace automatically takes a step back, feeling something skid under her foot (sand, not soil, where's the soil, where's the ground) and she falls with a curse, Sully yelping as he lunges to catch her.

"Easy," he says, but his hands are shaking. "Easy. Fuck. Okay." She can feel his pulse pounding, she can feel his panic gathering, she can feel the world moving and shuddering around her, she can feel everything, and she knows that--she knows--

"Reya, go get my mom and dad," Sully says, his voice taut, and there's the slap of feet against sand as the Metkayina girl runs. The slap of feet, and the thudding of waves, the howling of wind in the trees. Blood grubbing as Sylwanin heaves for air, as Tom Sully chokes out, as Neteyam--

--Neteyam--

Not enough bodies to go around. Not enough bodies, too expensive to look back, too much.

"Kiri." Sully's got his hands on her face, cool against her skin. Five fingers, strong and callused, resting lightly around the corners of her eyes. "You gotta breathe, Kir."

She can't. She's choking, she's choking on her first cigarette, she's choking on her own blood, she's choking on every lie she's ever swallowed with eyes sewn shut. She's choking on Sully's hand wrapped around her throat like a bad dream, like a memory.

"I've got you," he whispers, pulling her close. "You're not leaving us, Kir."

Kir. Kiri. Little atokirina. Little miracle, little secret, little liar, little ghost…

Over his shoulder she can see Tom Sully and Sylwanin (only it's not them, she knows this, she knows this just enough to wish she didn't) running her way. They're shadows, running, looking for the blood stolen from their veins; they're shadows, running, come to make sure she pays every single of her debts.

[spicybrowngirly]

when i feel down, i remind myself i can literally just do something else

1, change my environment (go for a walk, go to a shopping plaza, place of worship, visit a friend, or just a different room in my house)

2. do something new - read a new book, pick up a new hobby, do something youve been putting off (listen to your ideal selffff) - stimulate a diff part of your brain with activities

3. Let out your feelings - FEEL THEM ( its important for you to process your feelings but not to ruminate). When it gets to an obsessive point or a point where you can do anything else without thinking about it, you must intercept the thought. I've been telling myself "Girl, c'mon come off it, focus on yourself"

4. Putting the same energy into yourself - of course we hear about self love etc etc. But truly, putting the energy you put into a partner into yourself and thinking about your goals and your aspirations. (I have taken dating questions I would ask partners and started asking myself to get clear on my values)

5. I am a virgo dominant person so I have made a master document where I have tabs for each area of life and broke it down into smaller subjects (i.e. fitness/health, career, partner, family, future home, kids). It's to the point where I am listing out diff lessons I want to teach my kids in the future and how I want to approach it to best think about their feelings (of course I can only prep so much and things may be different but some people never think of these things until its come up and a kid is right in front of you asking why they can't get the new $300 3D printer. What morals do you want to teach your kids? How do you want your partner to show up?

6. Admittedly, I have been stalking the reddit r/love for the cutest posts of couples together and focusing there. I have been through a lot of relationship trauma and my mind focuses on the worst and I was very close to writing off dating and men all together. However, I am a soft girl. I don't want to give up that part of me. I will ONLY put my energy where it is reciprocated and up to standard. IF NOT, then I will continue to focus on myself.

The objective is to create a foundation and a shield around you and yourself that is so unbreakable that insecure, cheating men would never be able to penetrate. Unhealed people will be just that and sometimes we have to be selfish and say "No, I'm sorry that you believe that's how things operate but with me, that's not how it works". This is how you enforce boundaries.

Boundaries can be overplayed as a word, but it really is just that, a shield, to protect you from what is not meant for you.

Show yourself that you deserve a physical manifestion of your dream life but living it. Your dream self would not put up with dusties to 'prove their worth'. Your dream partner sees your worth and knows your value from the beginning.

[letsthinkdigital]

Lecture Diary 2

So for this week, we talked about different ways people have reinvented old tech to make better and more sustainable tech.  From using VR to create 3D Models to Hydroelectric power reinventing already existing tech is one of the best ways for us to progress while also reducing and recycling products so we can use less and be better for our planet. Something we talked about was 3D printers and the filaments that are used for them now there’s no sure-fire way to deal with the the plastic issue since once you make something with a 3D printer you really can’t recycle it at all after that. But, there is a way to turn bottles marked with a 1; PET bottles (Polyethylene Terephthalate plastic bottles) into 3D printer Filament. It’s one of the best materials for 3D prints that you need to be really strong. How the process works is that you first need to find PET plastic, It’s the one that’s marked with the number one and it’s also one of the most recyclable plastics out there. Then you cut it into a strip now first you want to start with scissors but then you can put it through a special type of cutting tool that will cut the bottle for you as you simply pull it through and wind it onto a spool.

After you have it on a spool you can start pulling it through the filament machine with pliers till it is long enough to reach the larger filament spool. Then you simply attach it to the spool and let the machine run.

I really like the thought of reusing plastic since it is one of the main contributors to the pollution problem facing our world. It’s in our best interest to try and reduce the amount of plastics used and to recycle the ones currently being used. And I think this is a step in the right direction!

Also, one other thing we talked about in class that I wanna go off on before the other parts of this post, Kniterate; is a machine that you can use to make your own fabrics. I would love to use this machine and get to know its full potential.

BUT AIN’T NO WAY I AM GONNA PAY £15,999.00 FOR SOMETHING LIKE THIS.

It’s a great product but, I am a poor college student T^T so no experimenting with fabric printers and PET bottles in the near future that’s for sure.

In other news 

We also had homework to read and take notes on an essay called “Anatomy of AI System”. I think this was an interesting read and that it was a bit eye-opening on the process of how things like Alexa’s and Google Home systems are made. I also really like that it mentioned the folk tales of the place of origin for Lithium that was pretty cool. Something else of note is that in the essay it is pointed out that we are still training AI with stereotypical actions such as men kicking and being violent and women caring for children. So it’s safe to say that AI is still pretty biased in its view of the world but that’s only because we as humans and creators have yet to teach the opposite of that. 

I think when it comes down to it my argument on AI is this, as it stands AI is a tool that we as humans can use to better not only our understanding of the world but of ourselves. We can sit there and get mad about AI all we want.

I have heard people say time and time again tirelessly that AI is going to take over creative jobs and ruin the art world. And while yes things are going to change and the art world will never be the same now that AI is around we aren’t going to lose our jobs to it. If anything AI can be used to make our jobs simpler and faster. The thing that I think of constantly is just how long it takes for me to get a reference image for a position I am trying to draw a character in. By myself with my talent, years of practice, years of studying human anatomy/forms, a four-year art degree under my belt, and the understanding of proper sketching techniques; all of this and I still at times just can’t get the pose the way I see it in my mind. So I use the other tools at my disposal, I try to mimic the pose myself, I go online for hours and try to find a reference image of a pose that is even slightly similar, and I even commission models hoping they can give me the reference that I need.  But that’s if you can commission people that’s IF they can even produce the pose you’re looking for. Sometimes you’re S.O.L. and have no other choice at your disposal. Do you know what would have helped from the very beginning? Having a reference image 

Close enough to the pose and an AI to make the person slightly in whatever direction you need to get exactly what you’re looking for. Yes AI is very good at making its OWN art and YES people are going to use it for nefarious reasons but, it will be much more useful to us if we let it progress with our art forms. I think AI is going to be a very useful thing as we continue on. I mean it’s already here after all… what other choice do we have other than complain about it?

[jcmarchi]

The Future of Home Cooking: How Technology is Changing Our Kitchens - Technology Org

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The Future of Home Cooking: How Technology is Changing Our Kitchens - Technology Org

Kitchen appliances are becoming more intelligent than ever. Take the Thermomix, for example – it transforms home cooking by combining several tools into one compact device. 

Using its touchscreen, you can weigh ingredients, chop veggies, mix batters, and cook meals. Best of all, it connects to Wi-Fi, giving you access to thousands of recipes from its large memory bank. 

The recipes can also be customized right on the Thermomix based on your specific dietary needs or what ingredients you already have. Now, creating restaurant-worthy dishes is a breeze, even for novice cooks. With this website innovation, like an all-in-one cooker, cooking has never been more fun or easy.

Cooking – illustrative photo.

The Impact of Technology on the Way We Cook and Eat

Technology is totally transforming how we cook and think about food. Appliances like Instant Pots and air fryers let home chefs skip some steps and speed up dinner. 

Online recipes and meal kits have also made cooking more approachable for busy people. Now connected devices can monitor what’s in the fridge and pantry to help reduce food waste. Smart appliances keep track of our ingredients to suggest recipes based on what we already have. 

Meal planning apps take all the hassle out of eating healthy, too. Cooking becomes personalized and fun as kitchen tools become more competent with voice assistants and 3D food printers. 

All these innovations empower us to feed our families better and make mealtimes enjoyable. Technology is changing our whole relationship with food.

Smart Kitchen Appliances

Smart appliances are bringing connectivity right into our kitchens. From smart fridges to ovens, these high-tech helpers have convenient features. 

You can start or check on your cooking from anywhere using your phone. Alexa does a lot of work to cook hands-free just with your voice. Things like ultrasonic dishwashers use less water and power, making smarter kitchens more eco-friendly. 

Connectivity lets you automatically reorder grocery items right from the fridge, too. Smart cooking also helps reduce food waste since appliances learn your habits to optimize temps and storage. Today’s kitchen tech is making mealtimes way more efficient and easy – pretty cool what our appliances can do now!

Connected Kitchen Devices

Our kitchens are getting super smart! Connected devices are popping up everywhere to improve cooking. 

Smart scales let recipes automatically adjust to exact amounts, which prevents food waste. Bluetooth thermometers monitor doneness from your phone so you never over or undercook. Apps like SideChef provide step-by-step video instructions to help anyone follow complicated recipes. 

Websites connect appliance data, too, like your fridge keeping track of what’s inside so meal kits deliver the ingredients you need. Technology makes home cooking easier and helps us save money and food simultaneously. Our kitchen assistants are here to help!

AI and Machine Learning in Cooking

Kitchen appliances are getting super smart thanks to artificial intelligence! AI allows them to learn from your habits. Ovens and microwaves can now cook whole meals with just the press of a button using automated programs. 

Fridges understand what you eat and suggest new recipes based on your tastes and ingredients. Apps take it a step further – they analyze nutrition to build custom meal plans for your health goals, like losing weight or managing diabetes. 

With machine learning, devices get to know you better over time. Soon, cooking will be more accessible than ever, and we’ll all eat healthier with help from our high-tech assistants!

Food Delivery and Meal Kits

Meal planning allows people to think about healthy choices for breakfast, lunch, dinner, and snacks. Planning meals for the whole week can help save time and support nutritional goals. 

Many meal kit services now provide balanced recipes with nutrition facts like calories, fat, protein, carbs, and vitamins/minerals. Customers can view this info online to help track their diet and make informed selections that meet their daily needs. 

Taking a few minutes to plan carefully can lead to positive diet results long-term.

Sustainability and Smart Food Management

New technologies aim to make cooking greener and reduce wasted food. Smart fridge scanners and apps can track items and send alerts when foods near their expiration.

Meal planning features suggest recipes based on what you already have. Devices measure portion sizes to help control calories and costs. When creating weekly plans, some systems will notice if you have half a veggie left and propose a recipe that uses just that amount. 

These smart tools help families be more sustainable in the kitchen and lessen the impact of expired or thrown-away meals.

Cooking Assistance and Virtual Chefs

New interactive devices are providing virtual help in the kitchen. Cooking assistants and virtual chefs offer step-by-step audio and video guidance through entire recipes. Users can start cooking by asking a smart speaker or home appliance for help. 

Devices listen for instructions and give the next steps at just the right time without the need for reading. Some learn users’ preferences and stocked ingredients to offer tailored suggestions. 

With built-in cameras and thermostat connections, virtual helpers can monitor progress and ensure safety. Their hands-free operation leaves cooks able to focus on food preparation fully. This emerging technology aims to take the stress out of cooking.

Challenges and Considerations

While innovative devices offer conveniences, some challenges exist. Smart kitchen appliances collect usage data, leaving customers to weigh privacy risks. 

Not all have access either, due to cost or digital literacy. This can worsen inequality issues for low-income families. Maintaining traditional cooking skills remains crucial, too. Technology should enhance rather than replace fundamental techniques. 

Many still find satisfaction in following recipes by hand and spending time with food. A balanced approach is essential so technology strengthens social and cultural aspects of sharing meals, not hinders them. 

Manufacturers must consider inclusiveness, data protection, and allowing choice in integrating tech into home-cooked experiences.

Conclusion

The kitchens of tomorrow will likely blend clever inventions with tried and true cooking methods. 

Devices that help plan meals, chop veggies, and take the guesswork out of recipes can help people cook more. But technology should never replace learning kitchen skills or sharing food with others. 

Machines that understand what we have on hand and give simple instructions could inspire families to cook together again. As home appliances get smarter, cooking may feel less stressful and more fun. 

As long as new tools preserve cooking’s heart, bringing people to the table, the future looks bright. With care taken, kitchen tech might make home cooking easier for more to enjoy.

[dodounchained]

I have a genuine question: wouldn't it be better to practice creating your own art, rather than using these image generators? to each their own, but considering how many people struggle creating their own art because of depression following this "ai" boom, I know I personally would not want to contribute to something that makes other people feel bad about creating things by hand.

Hey, thanks for the questions and the chance to dive into these overdue thoughts from a personal angle, because you phrased them so well :)

The straightforward reason I don't practice drawing and create things with my own hands is that I simply don't have enough time to learn a new skill while working a 9-to-5 job while taking care of the family. Fandom is my escape, and there's only so much I can dedicate to it. Learning to paint demands significant effort, time, and talent, and unfortunately, I don't possess those gifts at the moment.

Let me be clear: "AI-generated imagery" can't replace traditionally painted arts, whether on canvas or through digital tools like Wacom or Procreate. They're not even in the same ballpark. Fun fact, I wanted to be a painter as a kid because my mom was one, but she shunned it because it didn't work out well for her. In the game industry I'm in now, Art directors and artists are still highly sought after and are crucial to any successful project. At the moment, AI generation can't precisely interpret what we envision or tell a client that, no, black is too dark for a 70 pt bold logo in a children's game with predominantly pastel colors. It can't even add weight to a line or create a simple walking animation. Returning to the point, we live in a time where both Photoshop skills and traditional oil painting are appreciated, where calligraphy and typewriting are both practiced, and where sculpture and 3D printer skills are both taught in schools. I hope for a future where AI imagery and the drawing community are not at odds but appreciated in their own ways.

For aspiring artists struggling, I can't comment directly as I'm navigating the same path. But I know the struggle is real, justified, and will pay off in the end. If you ask me to feel bad for them, it's like asking a working person if they feel guilty towards Uber drivers. The analogy falls apart because AI and creative artists aren't competing for the same limited real-life resources right now. If someone felt guilty for being able to do something others can't, they'd be living with guilt every moment.

If I sound a bit defensive, I hope for your understanding. I have imposter syndromes (deserved or not), being a woman in tech and an AI image generator (let's not stretch for the word AI artist). This blog goes on hiatus when I'm so depressed that I can't even open the page. I'm enraptured in the R&D process, but there's no one I can talk to about it. It's a different struggle, but I have terabytes of failed models, wasted hours, and spreadsheets documenting what might have gone wrong before the model reaches its best likeness. What's worse, there's little community for us. AI imagery gets a bad rep because there are mountains of perverts doing unspeakable things I witness every day on forums and servers while looking for the newest style or training method. I'm scared to tell people this is what I (can) do. Perhaps in the '90s, people denied going on the internet because it automatically equated them with being a porn-watcher. That'd be funny.

If there's anything to feel bad about, it's the copyright issue in the AI community. I try my best to use models trained over "ethically" obtained images, but one can never be sure. None of my work has ever been used commercially either.

This response has probably gone on a tangent for too long, and I'd like to appreciate your attention if you've reached this far. Fandom is my escapism, and I have so many headcanons that would otherwise be fleeting posts that vanish in a second. Now, I'm gifted with this new tool to indulge in them, and I feel truly lucky.

[raenparade]

a reflection of artistic pursuits #1 - 27/04/23

I’ve been meaning to talk about all the art I’ve been doing in uni for a while now, so now I’m going to do it in a big post, and hopefully this won’t be the only one! 

I’ve been very fortunate to get to work with a variety of mediums since coming back to do my Masters, and even if I don’t use some of these methods in my project, I definitely don’t want to stop using them full-stop! 

Back in February, we had a bookbinding workshop, in which we all made ourselves a concertina-styled book. I feel like I’ll be repeating myself quite often, but it was very fun to try something I hadn’t done before! 

I still have the book empty, and I have a bit of a fear of doing anything with it, as I’m not entirely sure what I want to fill it with yet! The only slightly off-putting thing was how bad the glue smelled, really stank up the living room. 

The following week we were all inducted into the EPC (I think they’ve changed the name - but I can’t remember what it is) - having a look at woodworking and 3D printing. I had a go at using SketchUp with the 3D printers. I used them to make a couple of storyboarding templates. The first one turned out quite big, and I mainly use it for larger illustration thumbnails. But the smaller ones have been pretty good! 

I think I’d like to try SketchUp again, and hopefully give them a lid of sorts? To try and make it easier to hold, because they can be a bit slippery. 

We also got to visit Ankle Deep Studios at Portsmouth’s Historic Dockyard to do some lino prints, which overall was a fantastic trip! I’ve never actually been down to the dockyards before, so while we couldn’t go into any of the actual buildings, just walking around was very insightful. 

I used some of the emblems I saw around the dockyards as inspiration for my lino cut, and also the podcast The Magnus Archives, as at the time I was still extremely obsessed with it. 

I really liked my final result, and think I did quite well to make it look like an emblem, while also incorporating elements from the show, such as the eyes and the panopticon in the middle. While I could’ve cut the logo more, I do like the fact that we still have texture from the shallower cuts in the final prints. Again, just doing something I hadn’t before was really really fun. I love the tactile feeling of printing and things like lino, and wish I’d done it before!

I really do like the final results, and I think I may actually use lino again for a side piece for my major project. I’ve wanted to design logo/insignias for some of the organisations in TSTSU, and I think this would be a fun way to make it more physical! 

Another new artistic method was riso printing, again during one of our timetabled days. Riso had always confused me a little bit, but Ceri did a fantastic job of explaining everything to us, and making the overall experience super enjoyable. 

I once again used a podcast as my inspiration, but this time I chose the Lovecraftian horror podcast ‘Malevolent’ by Harlan Guthrie. I found the idea of layering things quite interesting and different, and I was also happy with the results of these! 

While I could've lined up the right print a bit better, I think what I mostly wanted to achieve worked, and was definitely pleased with how the print on the left turned out. I definitely want to try riso a bit more before I have to leave the university! 

While they’re quite small in the picture above, we also had a small go at badge making, with the badge press in the Illustration studio. I’m a sucker for things like stickers and badges, so I’ll definitely be coming back to make badges of my characters, or just anything really!

This was a bit of a long one, and definitely won’t be the last I do with these methods, but I’m glad to have finally put it all together for my blog! 

[csleko]

Oh, has it been a while since I posted a cosplay thing? As best I can tell, I never actually posted the Boba Fett gauntlets I made...last year...

Main reason for that being that I never actually technically finished them. I mean, I finished printing, gluing, and painting them, but when it came to attaching things to them to actually make them wearable, I ran into some issues.

Since then, I've got myself another 3D printer. Another filament printer. A bigger one that's a lot less hassle to work with than my first one. Got a magnetic flexible build plate that I don't have to lay tape down every time I want to print something. ALSO, I found out that some of the other problems I had with the old one were actually due to crappy cheap filament that kept breaking in the feed tube, so it wasn't totally the old printer's fault, but it still did kind of suck.

ANYWAY. I'm in the middle of reprinting the gauntlets, and I'm learning a lot about the pros and cons of resin vs. filament when it comes to cosplay pieces.

Resin pros:

Smooth and ready to paint fresh out of the curing bucket.

Much, much, MUCH faster than filament printing because print time is dependent on height, rather than volume.

Smaller detailed parts are clearer.

Resin cons:

Bigger pieces are prone to warping while printing, which can prevent parts from fitting together correctly. (Which is what happened to the gauntlet pieces.)

Large costume pieces can be very heavy and uncomfortable to wear.

Resin printing is messy in general, and involves toxic chemicals.

Filament pros:

More flexible, so less likely to break.

Much lighter, making it a better choice for large wearable pieces.

Easier to print in ways that reduce or prevent warping. (Also if warping does occur, you can potentially fix it with a heat gun.)

With the right settings, supports are much easier to remove.

Filament cons:

Very long print times, especially if you use smaller layer sizes to preserve finer details and make smoothing easier.

Smoothing out prints involves one or several very labor intensive processes. Regardless of method, you will frequently question how smooth you *really need* it to be.

Filament printers involve many more moving parts, so maintenance can be troublesome.

Obviously, you can make the best of both types of printing by printing bigger, less detailed parts with filament, and smaller detailed parts in resin. Which is what I did with the gauntlets.

ALSO. I'm working on getting stuff together to start making YouTube videos about the cosplay stuff I've been doing. It's still a couple months out right now, but yeah. That's a thing I'm planning. Got the equipment, got a logo done, working on an animated intro. Really just need to clean up my work area and do a bit of painting. Keep an eye out if you're interested in that sort of thing.

[jenakuns]

Some thoughts on Relativity

So I've been observing the company of Relativity Space for a good while now. What originally got me in I think were the plumes + some cool numbers and I've stayed in since then. Main line of interest in space for new people is SpaceX, but if you are naturally a contrarian or feel some degree of dislike towards Musk, it can push elsewhere. There's a generic mindset in the community where people have a desire to feel neurodiverse so they obsess over one particular company or vehicle in space. I've seen it with Firefly, ABL, Rocket Lab, Astra, Blue Origin, ULA and Relativity among others (personally I want to be deep on Varda, but can't believe it over the competition (Delian don't let me down)). Of course launch is the most common because of their visibility + the interesting activity being condensed over a couple minutes instead of months/years*. I wouldn't count Virgin Galactic as those tend to be more stock types with a financial attachment rather than a social one.

*Capstone I know you think you're cool doing half a million flips in space and saving it, but I mean Astra once did a powerslide so you're never gunna compare.

Anyways, yes Relativity. See this would never work in any other format. Just me ranting. I couldn't make a youtube video or any reasonable discussion on a social media platform. But for you nutters on tumblr who will never read this because it's likely adjacent to your interest areas, it's just right. Maybe livestreaming, but I'm not quick witted enough for that.

So uh how do I feel about the company. It's hard to say because I'm so close and feel so removed. Is 3d printing worth it? Shit maybe idk. The whole mass increase + the massive effort it's taken to get them working in the first place just makes it seems like it was not worth the money. ABL was founded a year after Relativity and achieved launch before Relativity at a much more efficient capital burn. As is now with >1000 employees, Relativity is burning hundreds of mil and isn't making any significant revenue right now. They will need to do another capital raise in like the next year or 2. The thing I come back to is the ability to move onto brighter pastures with the printer. Terran R is what is needed to make the company work and not burn money like it was going out of style. So anything to make the move to Terran R easier is justified.

I believed large scale work on Aeon R began in ~2020, maybe a bit into 2019. So a clean sheet 1.1 MN methane GG engine being on test stand in 3 years is pretty good, although TQ-12 context*. Prometheus began in 2015 and got an engine on stand in 2022. And that's the first engine, we'll probably see >10 Aeon R doing things by years end compared to like 2 or 3 Prometheus. That was enabled by Terran 1 heritage. Will the same principle go for the rest of Terran R. The big question is inevitably the structures because that's where Relativity is doing their new thing. So how long till we see large actual real Terran R Stargate hardware. They wanted to do like 1 engine/week by June 2023. That would be like 30 engines by years end. If they manage that, then maybe a shot. Maybe Gustavo man was on the money.

*Tianque 12 is a 660kN methane GG engine that started in August 2017 and had an engine on test stand in November 2019.

I always feel like I'm moving the goal posts. 'The current product is alright, but this next one coming soon tm will be the real deal' and it's always the next one. Which I suppose is the point of iteration right, but I can't help but feel uncomfortable. Keep in mind I don't actually make these points to people, I mostly think through these arguments with myself and see where I end up. But if you can do tank structure prints on Stargate 4 sooner rather than later, first half this year, it's good. Tim Ellis has hinted that there will be reveals after the first launch. It's always weird, cuz they want like a dozen Stargate 4.0s by years end, each of which is capable of printing 4 Terran R's in a year. But then we look at hardware produced and it's feels nowhere near that.

And then we look at Rocket Lab who have the nice good mass margins with composite and the low pressure ORSC engines which will presumably be very reusable. Granted the last time a company tried the tack of we'll run ORSC methane engine but at lower pressures so we have plenty of margin on the reusable engine it didn't work out too well for them. But talent wise the industry is in a much better spot. If Rocket Lab are producing 1/2 mass tanks relative to Relativity, while not risking the entire company because they don't have crazy cash burn because of existing revenue because good company. Wouldn't that make Neutron just better/more attractive on technical level, and production rate doesn't really matter for reusable rockets. So why Oneweb go with Terran? Bigger? If Terran R isn't on pad before Neutron then Relativity have failed. Everything is set up for this dev program. Anyone with a rocket on pad right now is happy because launch is selling like hot cakes.

How will it do in this market? Maybe it's big enough. I feel like the commercial market projections are a meme and that there's going to be a bunch of satellite company failures and scalebacks that puts the launch back in place. Is Relativity able to survive the crunch. What is the schedule? Sadly it's the most irrational hater wins normally, but that indicates bankruptcy does it not. Because Relativity will not have money for like 2027.

November 2024 is the window for the Mars mission. Can they do it? No. But I wants to believe mister. But the irrationals shall have their domain. But what if... no. :(

Give me the organic prints Relativity and show me the journey was worthwhile. A dome with poor finish and features that are only necessary cuz it's being printed is not that. I want to see bones.

I like FTL soundtrack for writing these posts. Very soothing. I need to get a more diverse set though.

[2headlightshine]

project #2, tinkercad, pt 1

here are the collection of screenshots of tinkercad tutorials and the certification quiz

readmore link below

i think tinkercad is a really intuitive and accessible program. i was worried my laptop wouldn't be able to handle it. luckily my laptop completely broke right before this lesson started and i had to purchase a better one. (please tell all your students to never buy lenovo laptops; it did not even last me two years of casual use. the hardware and software both collapsed in on themselves) i think this program has a massive amount of potential for educational use, even if it is primarily used for 3d modeling and not for printing

when the class's pieces have finished printing, i will make a follow-up post showing what i ended up making with tinkercad

Did you receive help at any time? And from whom?

i received help from you, the professor (hi!) in terms of printing specs and questions about what could reasonably be printed. i was also feeling creatively blocked at the time -- looking at the work of the people at my table and the lovely girls at the table next to me really helped spark my inspiration. our class had some fantastic designs for the plexiglass insert. i'm excited to see them printed

What are some mistakes, pitfalls, or challenges that others can avoid if they were doing this project?

CHECK THE SPECS OF YOUR PRINTER BEFORE YOU MAKE ANYTHING. this was really emphasized in the video tutorials but in my opinion it can never be stated enough.

i am the kind of artist that dreams big without considering the limitations of my medium. sometimes this is helpful for being inventive and pushing boundaries -- i had this experience in printmaking last semester.

unfortunately this is NOT best practice for a 3d printer! i kept adding elements to my design that were too small to reasonably be printed. then once i realized what i'd done, i'd have to remove them and rework my initial design ideas. for certain media, being aware of your limitations from the beginning can help you to think outside the box without creating roadblocks for yourself that could have been easily avoided.

[jenuinedog]

Hi! Anon from before who asked about fluidity and such, I have another question: How do you learn to angle heads / do different perspectives?

Did you take classes, use 3D models, or something else?

So sorry for all the questions, I really want to get better at angles and posing and such - facial expressions are a breeze for me, but I just can't keep proportions, anatomy, or poses right in my head.

TL,dr, how did you learn about all this stuff?

Don't be sorry! Asking questions is how u learn! Lil disclaimer that i'm sorry in advance if this answer seems kinda vapid and lackadaisical :")

I've never taken art classes of any kind in my life. A lot of what I know is from observing how other artists draw and tweaking their processes to something that'll suit my workflow and style better. I admittedly don't use 3D models as often as I should, but they speed up the process IMMENSELY. Sometimes i'll load up a model posing program and use it for just the hands/fingers LOL. It's actually helped me be more aware of how to segment parts of the body so I can "memorize" them a bit better. I actually cannot picture most things in my head properly, so I struggle with keeping tabs on proportions and angles of shapes and poses mentally too 😭

A fun lil trick I do to help with head angles tho that might help is i'll draw a "sheet" of paper over my main head form:

For some reason, i've found that this helps me visualize where the face goes and where it fits within a 3D space. As long as i know the general direction the oc is facing, I can bend and stretch stuff to fit as need be. IDK it's a simple way for me to keep track while drawing, and pretty effective too! 👇🏽

ok these are sloppy n off model a bit, but hopefully you can see what i'm getting at ghjsdfg. I've found making the "sheet" bigger/smaller to suit whatever you're drawing can help narrow down the angle better if you're struggling. Thinking of the construction of shapes and how they sit in a 3D space is helpful too. Most art programs have perspective rulers that you can use to keep a kind of guide of where your drawing is sitting on a perspective plane/grid. I use them when trying to do more dynamic postures!

Other than that, I literally just google/youtube whatever it is i'm trying to work on and click through as many resources as I can. Make notes of what works for me, what doesnt, what I can pick apart and reconstruct. I got my start in art by tracing other people's art onto printer paper when i was younger (never shared 'em, obvs) before learning people posted step-by-step processes of how they draw on dA (it's how I learned what "guidelines" where and how to use them in sketching) and using those. I spent a lot of my more formative years just mimicking other people's drawing habits and quirks until I found a set that worked for me, and expanded on that with just messing around in my spare time. Sometimes the only thing that helps is working through it until I get a result I like.

If you are looking for a more technical approach and wouldn't mind some critique on your stuff, I recommend a site called Drawabox.com ! I've never personally used it, but I have artist friends who have, and while it does cost a fee to access some of the video lessons, there are still a bit of free resources you can take a peek on that might help!!

SORRY FOR THIS LAME ANSWER HFGSHDF I have a very flippant approach to my art. Work smart, not hard as I always say 👌🏽👏🏽

Good luck!!

[mainsforme]

123d design 3d print

#123d design 3d print software

Now, attached to the nozzle, this blob mess gets stuck the good part next to it. If just one part doesn't stick to the bed surface, the material that should be used on the missing part bundles up. The good thing about regular old school washable gluestick is it helps the part stick to the surface while making it easier to remove. 3D Print Settings: Layer Height: 0.200mmīed Temperature: 50*C/122*F Blue painter's tape was used on the printing bed, and a thin layer of Gluestick was added to make sure the whole batch of x4 parts survived the entire print process. A bigger build platform can help you make lots of parts quickly. Just to give you a comparison - on my RigidBot Big, I could have printed the entire chess set in one 3dprint. This worked out in the long run since most of the pieces were in batches of (x4) anyway. Anymore and there were difficulties getting them to stay remain stuck to the build plate throughout the entire print-process. It turned out, (x4) parts at a time was the magic number. I filled my print bed with (x8) Pokeball Pawns to see if I make the whole batch at the same time. But how many at a time? I'd never done more than 3 of the same part at the same time before. Now, it was time to start 3D Printing these parts in batches. Those are necessary.for now.ģD PRINTING: With our previous R&D, we made sure the pieces could be 3dprinted in high quality. This will eliminate almost any post-processing, other than removing supports for the character on top. The bases of the pieces can be designed specifically for 3Dprinting. The supports on the base of the piece are unnecessary. REVISION: After making these, there are a few changes I will make to the models on GrabCAD & Thingiverse. Again, probably would make a great SLA part. I will test it again with the Prusa i3 MK2. I built a support column to hold the tail, but in the end, the piece was too small and intricate for that 3D printer. The tail was the biggest hurtle though, seeing as it hangs so far away from the part. His feet were not flat on the ground, and scaling was troublesome. The Mew piece was easy - just scale the model to the right size and put it in place. Once I had removed the top from the King piece, I needed to make a new base for the Kings to stand on. I wanted to match the chess piece from the original set so I used the King piece from OpenSCAD Chess by TimEdwards. Luckily, I found a Low poly Mew model from hairold on Thingiverse, and a Mewtwo V.2 model from Tan_Tata_Chan. Cool, but anyone could do this IF they have models to work with. Now remember, all I did here was manipulate models someone else already made. Note that Tinkercad does not have options like orthographic view or a proper text tool compared to 123D.This, of course, meant I had to create new Mew and Mewtwo pieces from scratch. I recommend it for beginners who want to try out Tinkercad but may not be ready to commit. When creating complex designs, 123D can sometimes run very slowly and I’ve often experienced crashes.

#123d design 3d print software

123D vs Other Platformsġ23D is a free software mainly targeted towards beginners or users with some basic CAD experience. Simply enter the dimensions of your 3D printer’s plate and you’re good to go. However, before exporting, remember to convert it back to millimeters! Edit gridĮdit Grid allows you to set the grid size to match your 3D printer. If you want to use inches, you can by adjusting the unit. Otherwise, you could end up making a huge error. Knowing this, be careful when drawing custom designs. UnitsģD printers use millimeters as the default unit for measurements. If required, the user can turn it off and drag the object randomly around the grid. Snap decides the intervals that an object can be moved/rotated on the grid. After selecting the primitive from the menu, you much first input the dimensions of the object and then the object can be dropped on the grid. One cool aspect of primitives is that users can adjust their size. Primitives are pre-made 3D models that users can start a design with, but they are limited. Meshmixer and 123D Make are both handy tools I use to check my model before exporting it to my 3D printer. I only work with STL but highly recommended that users figure out their 3D printer’s requirements and choose the appropriate format based on that. With Import, users can import a 3D model or a sketch/2D image in SVG format and then extrude this sketch to 3D.Įxporting as a 3D model provides four format options: STL, SAT, X3D, and VRML. 123Dx extension, which means these files can only open in 123D. Note: Files saved to your computer are saved with a. The tabs shown by the green arrow are Undo (ctrl+Z) and Redo (ctrl+Y) and come in very handy when designing a model.