3D Printed Prosthetic Beak (3D印刷假鳥嘴)

16 08 2012

A bald eagle, named Beauty, was found with the top half of her beak shot off. Rescued by Jane Fink Cantwell of Birds of Prey Northwest, Beauty is unable to feed or clean herself due to the loss of anatomy. While visiting the rescue center with his daughters, Nate Calvin of the Kinetic Engineering Group offered to help create a prosthetic beak. Calvin made a mold of the disfigured upper beak, laser-scanned it, modeled a prosthetic beak to fit the existing beak in a 3D modeling program, and 3D printed the prosthesis with a nylon-based polymer.

With the assistance of a dentist, the prosthetic beak was successfully implanted into Beauty’s existing beak. Beauty is now able to preen, drink and feed on her own once again.

[via Make]

Rapid Prototyped Auricular Mold (快速原型模型)

8 12 2011

Heavily inspired by the iRSM Digital Design in Facial Prosthetics workshop in Edmonton, Canada this summer, my classmate Lindsay and I conducted a study on rapid prototyping a digitally designed 3-piece auricular prosthesis mold. We utilized an iCAT to obtain DICOM files of our ear casts and patient treatment site.

The DICOM files were then imported into Materialise Mimics to mirror the existing ear to adapt to the treatment surface. It was then booleoned from a larger cylinder and digitally designed into a 3-piece auricular mold with keyways to ensure proper fitting. A workflow was then created for the digital fabrication of the mold utilizing Mimics.

The STL of the completed mold was sent to a ZPrinter 310 Plus to be rapid prototyped with a high composite powder and binder.

After printing, the mold was retrieved for postproduction work of drying, infiltrating with cyanoacrylate, and sanding for a final finish.

The prostheses fabricated from the rapid prototyped molds will be used to assess anatomical accuracies to the original ear casts and compared to the traditionally fabricated prostheses through wax sculpting. Another assessment will be made on time and cost effectiveness to determine its feasibility for clinical application.

Sophie Kahn (梁劉柔芬·卡恩)

24 11 2011

Born in London and grew up in Melbourne, Australia, Sophie Kahn trained as a photographer and later expanded her study to animation, 3d imaging and digital sculpture. Sophie’s work engages the role of the image in the expanded field of post-photographic imaging. Her creative use of the novel technology of 3d scanning and 3d printing to capture the living body produces a fragility that exists between that of the living in constant flux and the mortuary stillness.

Laura: RGB, 3d printed epoxy resin, plaster and cyanoacrylate, life-size

Dominick, black ABS acrylic (from 3d laser scan)

Laura, ABS acrylic rapid prototype, 2011, life-size

Head of a Young Woman, bronze (from 3d laser scan and wax stereolithograph), life-size

Cemile, Archival chromogenic print (from 3d laser scan), 24″ x 30″

Sophie has also been employed by the Royal Children’s Hospital, where she conducted research into 3d medical imaging. She currently resides and works in New York City as a teaching artist.

Check out Sophie Kahn’s website for more!

[images via shapeways]

[artist bio via MoMA PS1]

Between Reality and Reverie—Li Hongjun’s Paper Art (在真實與夢幻之間—李紅軍的紙媒藝術)

10 09 2011

Through Art Taipei 2011, the longest-standing art fair in Asia organized by Taiwan Art Gallery Association since 1992,  I spotted Li Hongjun, who attempts to convey the conversion space of existing objects such as the vacuity of life and death and the space-time distance of reality and illusion—the very same idea as Li claims seen from Gunther von Hagens’ plasticized human specimens on display.

Born in Shaanxi Province  and currently living in Beijing, Li Hongjun attained his degrees in Folk Art and Experimental Art.

Into Papers – Li Hongjun’s Solo Exhibition

Preferred to be called a “handicraftsman” rather than an “artist”, Li expresses his respect for the mere creation of art and exploration of the conversion space theme through his sensitive treatment of the material with the traditional Chinese paper-cut derived process.

“Drift Away II” made out of paper by Li Hongjun displayed at the Art Taipei 2011 exhibition.

Li Hongjun’s “Drift Away II” viewed by a visitor.

“Self”, 2008, paper, Li Hongjun

No. 1 (Series: Rotating Head), 2008, paper, Li Hongjun

No. 2 (Series: Offset paper), 2008, paper, Li Hongjun

No. 3 (Series: Offset paper), 2008, paper, Li Hongjun

(Series: works with no series), 2010, paper, Li Hongjun

Why does Li Hongjun’s work appeal to me so? At first glance, the layers of cut paper resembled the print layers of 3D printing systems for rapid prototyping, which I am currently studying. Realizing that they’re layers of paper, I am even more intrigued. No matter how high-tech and virtual our world becomes, I cannot forego the tactility of materials, especially that of paper. That is one reason I am so drawn to the making of origami. His exploration of the transition between the real and the illusionary,  the living and the deceased, and even the association he draws to von Hagens’ BodyWorlds of the once real and living bodies becoming plastinated specimens for display, is a theme that has long fascinated me with a more anatomical emphasis and has everything to do with the research project I wish to tackle currently.

[images and artist bio via ArtLinkArt via artdaily.org]

Auricular Prosthesis (假耳)

7 05 2011

Special Topics in Anaplastology: Fabrication of an Auricular Prosthesis

Impression Making

Marking Frankfort horizontal for orientation of prosthesis on defect cast.

Impression Casting

Wax Sculpting

Mold Making

3 part mold with a wedge piece to prevent undercut behind helix.

Intrinsic Coloration & Mold Packing

Flocking – short colored fibers were added for a subtle color change and to mimic vasculature.

Base color – semi-opaque underlying skin tone; commonly identified from underside of the forearm, along the hairline, anterior to the tragus, and at the base of the helix.

Laminar glazes: pink blush, freckling, tan, highlight (cartilage), and shadow.

Trimming & Extrinsic Coloration

Trimming excess flash with scissors and smoothing helical seam with silicone bur.

Color matching for extrinsic coloration.

Extrinsic pigments added to medical adhesive moisture-cure silicone.

Deshine with confectioner sugar to alter the surface geometry of the silicone.

Once cured, rinse the sugar off with water.

Fabrication complete with piercing.

3dMD Self Portrait (三維自畫像)

6 05 2011

Using the 3dMDface System in the Craniofacial Center at the University of Illinois Medical Center, a 3D image of my face was captured. The 3dMD system utilizes Digital Surface Photogrammetry (DSP) to capture the 3D form by projecting a random light pattern with synchronized digital cameras set at various angles. By filtering different wavelengths of light, a 3D surface geometry and surface texture are acquired simultaneously, resulting in an accurate texture map when applied to the surface data.

The model was then imported into 3ds Max to create a cleaner low poly mesh with retopology. The surface texture is then mapped onto the new geometry.