What happens when the NACCE (National Association for Community College Entrepreneurship) has their annual conference? Inspired conversation.
Sallye Coyle, Educational Outreach Coordinator for ShopBot Tools, and I held a round table at the NACCE event. Attendees learned about the 100kGarages online network for bringing makers, designers, and fabbers together. We shared a presentation highlighting the continuum of ideation through manufacturing to delivery of a product, offered up alternatives to sending manufacturing oversees, and discussed the power of networked communities to get things designed and made locally. The whole group joined in to share experiences at their colleges that have sparked regional efforts to encourage more small businesses, incubators, and co-working spaces for various disciplines.
The NACCE organization is focused on “cultivating an entrepreneurial culture.” Many of the speakers, including EJ Carrion, Co-Founder and Chief Evangelist Officer at Student Success Agency and Johnny Earle of Johnny Cupcakes, shared their experiences of success through community college and the efforts of being a motivated entrepreneurs with supportive networks.
We were also able to talk with attendees about the benefits of digital files and digital fabrication techniques and how cross-platform training in the design software (CAM) can offer people greater flexibility in creating rapid prototypes and manufacturing techniques on a suite of tools from ShopBot CNC tools to laser cutters to wire benders and 3D printers.
Across the country there is an exciting movement to “create economic vitality through entrepreneurship” that community colleges are helping to make happen. They are not only teaching people about starting a business, but helping them succeed by providing ongoing support and resources. 100kGarages may become one of those resources to network and map local hubs of entrepreneurs or “garages” around these community college initiatives. We’re definitely excited about the collaboration opportunities that ShopBot and 100kGarages can bring to the table.
How does this season inspire your creativity? We invite you to “CNC it” and share it in our 2nd Annual Seasonal Decor Challenge! Whatever holiday you may celebrate, share your CNC project with ShopBotters and Handibotters everywhere by helping us decorate our tree at ShopBot World Headquarters in Durham, NC.
Last year we received a lot of creative and fun entries so we look forward to seeing yours now!
We’ll be awarding some cool prizes to our favorite entries: one-year subscriptions to MAKE: magazine and fun ShopBot t-shirts!
Guidelines Be creative and have fun! We ask that you make your item using a ShopBot or Handibot as the primary tool – feel free to use other techniques and tools as well.
We’re building a CNC’d tree at ShopBot that we’ll use to display all submissions. With this in mind, your creation should be similar in size to a tree ornament (no larger than 3”–8” on any axis) and weigh less than 1 pound. It must fit in a flat-rate box or envelope for shipping. Your final design can be 2D or 3D, as long as it fits within the rest of the parameters.
Submissions must be received by December 18th, 2015. The tree will be fully decorated by December 24th, 2015 and a photo of the completed tree and the design submissions will be posted to the ShopBot blog and Facebook page. The tree will remain up through New Years 2015.
Please send your item (packed carefully) to: ShopBot Tools, Inc. Attn: Holiday Decor Challenge 3333 Industrial Drive Durham, NC 27704
Please include your name, email, and any information you’d like to share on how you made your piece and any references to resources and materials you used to design and create the submission. Tell us your story, about your inspiration for the project. You and your design could wind up being featured on the ShopBot blog some time in the near future!
THE FINE PRINT (Please Read!)
We encourage you to upload a photo of your submission on the ShopBot Tools Facebook page, but this is not required to take part in the challenge.
By submitting your CNC holiday decor challenge entry, you are authorizing ShopBot to publish your project in upcoming publications and promotional materials, on our websites and in our other e-media, as well as to possibly display it at shows.
We welcome the use of open source or licensed projects, as long as your submission does not include any elements that are protected by copyright without the expressed written permission from the person or institution that holds the copyright.
ShopBot will not be held responsible for loss or damage due to circumstances beyond our control.
What an incredible time to be a fabricator! We have digital tools with incredible accuracy and precision and can make just about anything we can imagine. In reality though, we rarely need that much precision… we’re not making artificial heart valves! But if we had a need to fabricate something with ultra precision out of plywood, could we?
Let me start by saying I’m one of plywood’s biggest fans and have done some projects that used 600+ sheets. It’s easy to find, and relatively inexpensive compared to other materials. It is strong for its weight and is available in a multitude of styles and species. It’s available in big sheets and can span large distances, but can be flexible if needed. It can be easily glued, and when fastened face-to-face it holds fasteners well. It can be left plain or covered with paint, clear coatings, veneers, Formica, solid wood, and lots of other finish options.
So what’s the problem?
In many ways plywood is perfect for CNC fabrication, but unfortunately it also can be an incredibly frustrating material to work with. Plywood is almost never as thick as it claims to be and like 2×4’s that are never really 2″ x 4″, 1/2″ plywood is rarely actually a 1/2″ thick. It’s almost always thinner than it’s supposed to be, but not consistently thinner. A sheet of 1/2″ Pine plywood is almost never the same thickness as a sheet of 1/2″ Baltic Birch. And a sheet of 1/2″ Baltic Birch from one mill may not be the same thickness as a sheet from a different mill.
So how can you deal with this issue? You might think all that’s needed is an accurate measuring tool… you just measure a sample sheet of plywood, and design your chair or slot-together doghouse so that it fits perfectly for that thickness of plywood. And maybe you’ll cut one and it fits together perfectly. You’re a genius!
However, you might not be as much of a genius as you thought! Maybe you made your project during the cold winter and now it’s summer—and now the parts have swollen and are too tight to go together. Or you made a second one on the same day and that one is too loose? What gives?
Wood in general is a “living” material and can change dimensions based on temperature, humidity, and manufacturing techniques. Plywood from a particular mill may vary between batches, and even the sheets within a bundle of plywood can vary from the top to the bottom and from day-to-day because of environmental changes. It can even vary within an individual sheet, a sheet in the middle of a stack will generally gain and lose moisture in the edges but not on the faces. For projects where pieces need to fit together accurately for aesthetics and/or strength this can be a problem.
Should we give up on plywood? Not at all… we just need to learn some techniques for working with it:
What can a Fabber do?
1) Redraw the parts
We’re using tools that can accurately cut what the drawing says to cut, so the first instinct is to just keep redrawing the files and resizing the features to accurately reflect the material you’re cutting. This might be the best method in a lot of ways because you have an accurate drawing that really reflects the material you’re cutting, but it’s a ton of work and has to be done multiple times to hit the sweet spot for material with a wide variation in thicknesses. It also requires saving lots of versions of your files and keeping track of which one is which—not easy to do. If you’re not the designer the changes you’ve made can have unintended consequences, so be careful before making too many changes
2) Modify the existing drawings without redrawing the parts
You can also apply an offset to the drawing without redrawing the parts, essentially moving the edges in or out a fixed amount based on the fit you’re looking for. You can also sometimes scale the design to make everything fit. Remember that scaling is proportional, and if you were to scale things by 3% to make a slot fit just right it might be the perfect change for the slot, but features that were twice the size would show twice the change. Parts that were 24″ would grow by almost 3/4″ which might not matter in some designs, but in others, like chairs, it’s a big deal. Scaling certainly has its place and can work well in lots of cases, but it does require a lot of thought to be sure that you’re only scaling the things that help and not the things that hurt.
3) Make changes during toolpathing
We were asked to fabricate some very cool Antler Chairs for SketchChair’s Kickstarter campaign, that were cut from nominally 1/2″ Baltic Birch plywood. Since they slotted together without any fasteners and would be shipped un-assembled and flat-packed, the fit had to be just right or they would either be wobbly when assembled or too tight to put together. We took delivery of the plywood (25 sheets) and started measuring the thickness of the sheets with a set of calipers. And guess what? They varied form .458″ to .487″ within this one batch! If we created the files for the average thickness then only a couple of sheets would fit right, the rest would be too loose or too tight.
Instead of modifying the original drawing by applying offsets, we used a technique called toolpath allowances, a version of temporary offsetting that doesn’t change the drawing, it just affects the toolpath instructions. It works well for slotted designs, quickly making slots tighter or looser with small adjustments because all the changes are small. We got the chairs cut and they turned out great, but it required accurately measuring every sheet and then using that thickness measurement to pick the right file from 5 toolpath files that we had created. That’s a lot of trouble to go to just to make 25+ chairs.
Be aware that when using toolpath allowances there are some weird geometry changes that happen. The dimensions of some features like slots and mortises are changed by twice the allowance value, and others (like tenon lengths) not at all. But when thought through and applied selectively, it can work quite well and leave your original drawing unmodified.
4) Cut and sand to size
You can also cut all your files based on the thinnest sheet and then sand the thicker ones. In many cases the variation between sheets will be more than the thickness of the outside veneer layers, so you will sand through the face before you get the fit right which will look pretty bad! In some situations it works great though, especially if the variation is small, the outside veneers in the plywood are thick, and you are careful with a sander. It works especially well for times that you want a feature like a tenon to be flush with a surface—a little careful sanding can give a really nice finish. In more cases than not you can’t count on sanding for fit, and the chance of disaster with this method is pretty big.
5) Cut for a fit tight and pound it together
One great feature of wood is that up to a point it compresses if you apply enough force. This means you can cut things to fit the thinnest sheets and then when you cut it out of a thicker sheet just pound it together with a blunt instrument! It’s not a particularly elegant solution, but will work more times than you would expect, makes good tight fits, and give you a great workout!
6) Machine the mating surfaces
Instead of modifying the size of entities in the design or toolpath to get a good fit, you can add features to the drawing that let you use the tool to machine just the faces of any sections that fit together so that they are a consistent and predictable thickness. This works best when you zero the bit to the table surface rather than the material top, then the cut depth is based on a known point and not the top face of an inconsistent material. It can give really consistent and accurate fits, but can take a lot of time to cut.
What can Designers do?
1) Design for modification from the start
All of the above mentioned techniques work in the right situations, but the best way to deal with the problem is to use software that lets you modify the design on the fly based on the material you’ll actually be using. This requires a marriage of design thinking and programming skills, and a pretty good knowledge of toolpathing and how changes in one part will affect others. If done right, it can go a long way toward making designs easily modifiable.
There are web-based apps that enable this kind of customization like the one shown above from our friends at AtFAB. Affordable parametric design software like Autodesk’s Fusion 360 allows you to define features with variables, instead of a measurement, so that a change to one instance changes every instance. Sketchup’s Dynamic Components allows you to add customizable features to your models. All these techniques require more work upfront to create the drawing and a strong understanding of the sometimes complicated relationship between features, but in the long run it makes it much easier to make changes based on accurate material measurements.
2) Explore different joinery techniques
There are lots of connection techniques that are strong because of their design. Traditional Japanese joinery immediately comes to mind, along with joints modified specifically for CNC cutting like the fascinating 50 Digital Wood Joints. Other techniques include dovetails, mechanically fastening with wedges, 3d-printed connectors, zipties, or good old glue.
The opposite of “make the fit tight and pound it together” is to make the fit loose on purpose and then use hardware to tighten it all up and make everything sturdy. There are all kinds of specialty fittings and knock-down hardware systems, but the simplest are screws and bolts. Screws can work fine, but have limited holding power in the edge of plywood, tending to split the layers instead of digging into them. They also require pilot holes to pull the pieces together. If not, they can leave a dimple that holds the parts slightly apart. They also get looser and looser as they are removed and replaced, which makes them problematic for pieces that have to be disassembled and re-assembled periodically.
Bolts are my preference. If two pieces are connected face-to-face so that you can get to both sides, traditional bolts and nuts can be used to make strong connections. Sometimes you can’t easily access the other side of a connection or you are connecting the face of one part to the edge of another. In those cases, you can use one of many kinds of threaded inserts to replace a nut. Some are meant to be screwed in, some driven in with a hammer, and some are inserted into a machined slot. Philosophically some of these techniques are a little worrisome when we’re using an incredibly accurate tool, but anything that solves the problem is okay in my book!
3) Design to minimize flush fits and joints
There’s an old woodworker’s trick that’s called a “reveal” that can be both visually interesting and helpful. It involves purposely avoiding flush fits and making parts longer or shorter than they normally would be to create a shadow. When it’s part of the design, it can be both interesting and helpful.
If a reveal doesn’t work for you, go the opposite way and add an overhang. Make the seat of a chair overhang the sides, or a table top overhang the legs, or the tenons extend all the way through the mortice, maybe with a decorative edge
4) Build strength into the design
When getting ready for MakeLocal in New York I learned a trick from the designer of the Valovi stool. It looked like it used regular slotted construction, but when I examined the parts a little better I discovered that the crosspiece that connected the bottom had its slots a little bit further apart than the ones at the top. That way, when it was assembled, the bottom slat built a little tension into the piece and helped stiffen it up quite a bit.
My intention is not to discourage you from using plywood. Even with its shortcomings it’s an amazing material and my material of choice for most projects. Just be aware that your CNC tool is just one part of the digital fabrication equation and that sometimes problems arise that require creative solutions.
The housing market crash and economy-wide downturn of 2008 shook the lives of millions of Americans to the core. People lost jobs and started losing their homes. People stopped qualifying for mortgages to buy a home. One person’s response was this: Dennis Michaud, a successful architect and designer of high-end pre-fabricated homes, began to shift his focus to enabling people of lesser means to have their own home — without needing to qualify for or take on a burdensome mortgage.
Dennis’ company, Homebuilt, represents a whole new approach to affordable homebuilding. The company’s products are kits for code-compliant structures that you can build all by yourself (or with a friend, to make it more fun). Anyone can put together these buildings with no previous experience needed, and no tools required beyond a mallet and a hand-held power screwdriver (the kits can, of course, also be assembled by local pros). The structural pieces of a HomeBuilt Kit are precision cut, including the obvious numbering of each part, using a full size ShopBot Tool.
Lumber and Plywood Kit fresh off a Shopbot
Check out this quick video of the Shopbot cutting the lumber….
I first spoke with Dennis over a year ago, and wrote about his vision for Homebuilt on the 100kGarages.com blog. Fifteen months later I thought it would be interesting to check in with Dennis on the status of his venture.
“Things are going really well, and I’ve learned a lot,” said Dennis. “We’ve sold about 15 kits over the past year, which could be viewed as not that many; but at this point I am most interested in learning about what customers like about the kits and what they want from a kit, so this level of activity is just fine.”
Dennis told me that he’s found that most buyers are interested in having their kits customized a bit to meet their own vision. Following their interest, Dennis has focused efforts on being able to fulfill on these custom requests.
Here a sample of the kit designs that Homebuilt offers:
“The Escape” Kit prices: $6,500 for full structure, up to $36,000 for everything (see below) beyond the foundation Exterior Dimensions: 27′ x 20′ x 15′ (height); Conditioned Square Footage: 450 square feet; Full Kitchen, Full Bath (shower), 3 Closets, Exterior Storage Nook Energy-efficient Heating, AC, and Hot Water; Energy-efficient Windows and Doors; Easily connect to power grid, existing house power, or solar panels No sewage needs – includes Swedish-made Seperett composting toilet
“Cabana” From the site: This kit is ideal for anyone needing some extra space for something special. Whether it’s for a backyard office, an art studio, or just a place of your own to relax: pick a size, some options for finishes, and call a friend over to help you put it together. Typical assembly time between 2-3 weekends, depending on the finish selections. See the Homebuilt site for size options and pricing.
“An important part of my development curve has been working with the production support team at ShopBot Tools to configure the ShopBot to handle non-standard materials. You generally think of a ShopBot as a tool for handling sheet goods such as 4 x 8 plywood. We’ve figured out how to use the tool to handle 2×4, 2×6, and 2×8 lumber. The challenges presented by this lumber is that pieces can be warpy and arrive with non-standard thicknesses. On the machining side, we’ve figured out hold-down issues by creating robotic ‘grippers,’ and on the software side, we’ve built in the intelligence that indicates where a piece of material needs to be held down appropriately so we can achieve the cut.”
Dennis says that he now has a process in place that makes it easy for the tool operator to work with lumber efficiently and easily.
Amateurs frame up a home with a Homebuilt Kit.
In the very early phases of the company, Dennis prototyped and built small structures such as backyard storage sheds. Over the past year or so, Dennis has wanted to be able to learn how his vision — for amateurs to build a livable home — would work in practice. The opportunity has come in his relationships with Habitat for Humanity.
Habitat for Humanity home with Homebuilt framing
The images you see below illustrate the use of a Homebuilt kit by the Springfield, MA chapter of Habitat for Humanity. “In this case, the project had an extremely tight deadline – with funding contingent upon the deadline being met,” explained Dennis. “Construction had already begun, and Habitat made a last-minute request for Homebuilt to provide the interior framing for both of two stories.”
“The Homebuilt kit fit perfectly into what was already started – adapting even to a later, major design change – and turned what could have been weeks of work into an easy weekend completion. All twenty-three (23) walls were assembled by a crew of 3-5 volunteers (including the future homeowners), without building experience, in about 8 hours… using only small, cordless screwguns and plastic mallets (not even tape measures!). The Homebuilt kit also removed the need to use saws on the site, making the build safer, faster, and more inclusive for volunteers without experience or comfort with using dangerous tools.”
1. Precise Kit Parts and Fully-Illustrated Assembly Manuals
2. Pre-cut pocket holes for toenail fastening makes this typically difficult process easy
3. Pre-drilled holes open the opportunity to use screws instead of nails.
4. Measuring is unnecessary. Parts lock into studs where they belong.
5. A tap of the mallet locks the top beam into its interlocking wall studs
6. A mallet is one of the only two tools needed
7. All engineering, even the difficult details, is integrated into the parts
8. The interior walls of this two-story home were erected in 8 hours by a few inexperienced volunteers
Looking ahead, Dennis notes that the financial hurdle — a need for about $50K to fully build one of his kit homes with all of the amenities — is one that needs to be addressed if people of modest means will be enabled to participate in this DIY movement. A note of hope: He foresees that the growing micro-lending, or peer-to-peer lending, trend can enable a lot of people to be able to build for themselves. An example Dennis gave, “If a micro-lender can see that a $50k investment will allow someone to put up a quality, code-compliant 1,200 sq ft home in a neighborhood of homes that are valued around $200K, then that’s a great investment to make.”
Max Lobovsky, the founder of Formlabs and creator of the Form 1 3d printer, summed up the future of digital fabrication pretty well for me… “People don’t need the technology, they need the parts.”
We all know that digital tools—CNC machines, 3d printers, laser cutters, etc.—are amazing machines. We need to remember though that they are just that, tools like hammers and saws. It’s the output of these tools that is the powerful story to tell, as do the new things they can make and new business models for manufacturing using them. For sure the “Star Trek Replicator” will change everything when it comes along, but until then we’ll still need ways to fabricate all the things we need. Of course there’s a place for things like artistic carvings and 3-d printed items, but what I’m talking about here are the things that we all need; chairs, tables, cabinets, houses, and all those kinds of things. Things that Ted Hall refers to as the “stuff of everyday life.”
Does this mean that everyone will have to have a full fabrication shop in their home to make everything they could possibly need? I don’t think so, and here’s why I think it might not make sense for everyone to become a fabber:
There’s a learning curve and skill set involved in using all these tools efficiently. They are certainly getting easier to use, but there’s no substitute for using a tool day in and day out. You can buy a bread machine, but that doesn’t instantly make you a baker.
Small-scale home fabrication can be pretty inefficient, both in materials and time. Need a small shelf made? Odds are that you won’t have just the right materials you need to make it on-hand. And if you do happen to have exactly what you need all the time, you probably have a storage problem! Most likely you’ll end up using a material that might not be appropriate for your use but might just be what you have on hand.
It can be a lot of work. A sheet of plywood or plastic can be heavy, and fabricating the parts is usually just the start. It’s a rare project that doesn’t require finishing steps like sanding and painting, which can be messy in a home. It’s fun on occasion, but maybe not when you need to make EVERYTHING!
There will always be people that want to own the tools themselves, and at ShopBot we’re glad of that, but we’re also excited about the rise of local manufacturing businesses that leverage these new digital tools and the designers skilled in creating for them. That’s our motivation behind starting 100kGarages and projects like the MakeLocal project in New York and the Open Source Living Room in Detroit. We wanted to show folks that might not be “makers”—our moms and dads maybe—that digital tools and digital design can enable a resurgence of local manufacturing and the start of a new manufacturing revolution
Design file used to recreate the design used on an antique wooden textile printing block.
Theatrical costume designer Katie Keener is a graduate student in technical theatre at the University of North Carolina at Chapel Hill, where the theatre in residence is Playmakers Repertory Company. As part of her studies, Katie recently developed a project entitled: Digitally Driven Replicas of an Antique Textile Printing Block.
ShopBot’s Randy Johnson, Thea Eck and I met Katie this summer when she was displaying her work at the USITT Special Exhibition at UNC. Katie described the project, “My textile printing project includes an antique, wood-carved printing block in need of repair, and the process of creating a new print block using two methods: in the form of 3-D printed plastic, and a new carved-wood block made on a CNC machine (a ShopBot Desktop).”
Katie explained, “The project covers the process of printing with a traditional block, creating a 2-D file, translating it to a 3-D file, and the printing process of the repaired blocks. The study also includes printing pros and cons with new blocks versus the antique block.”
Here is a series which shows how the antique wooden block prints the pattern, then the pattern as printed by a 3-D printed block, a CNC’d block, and finally how it looks when printed by Spoonflower, a digital fabric printing company.
Printed using the antique wooden block
Pattern printed using a 3D printed block
Printing using a ShopBot CNC’d wooden block
Pattern as printed by Spoonflower
Here are Katie’s write-ups of her processes:
3D Printed Textile Block Replica
The work was done in the makerspace at UNC, which is part of the University Libraries’ Research Hub initiative. Its purpose is to enable UNC students, staff and faculty to explore emerging technologies and foster a creative community of makers and making.
After submitting the print request, library staff facilitated the print job and process.
The JPEG was traced and saved as a 2-D Vector format, SVG.
The SVG file was then translated into a 3-D format, STL File.
After the file was reformatted, it was sent to print on the U Print machine using ABS (Acrylonitrile Butadiene Styrene).
3D printers render a physical object from a digital model by the process of fused filament fabrication.
Plastic filament is fed through a heated nozzle that the computer moves, building layer upon layer from the base of the item upward.
The base of the block was printed in a honeycomb pattern to save on product and fill large areas.
CNC Printed Textile Block Replica
ShopBot Tools is a company that makes CNC machines. The end product can be referred to as machined, carved, or printed. Materials that can be printed are wood, plastic, metal, ceiling tiles, and more.
ShopBot staff member Sallye Coyle advised and facilitated the process of learning new software, operating a ShopBot, and printing an intricate textile block replica.
Corel Draw was used to convert a 2D file into a 3D file by tracing the image’s edges and saving it as a Vector file.
The Vector file was uploaded into V-Carve Pro and edited to clean up points, size, and test simulation.
A 60 degree V-Bit was selected to execute the fine detail and depth of the antique textile block design. The bit was set to carve at 12,000 rpm.
The carve depth is how deep the bit will plunge into the material without losing the integrity of the design.
A flat depth levels off at a set depth. No flat depth allows the bit to plunge into the material as deep as possible.
A simulation shows the machine’s path to print the block.
Editing and troubleshooting after viewing the simulation allowed for a smooth, and successful print.
Estimated print time: 9 minutes
Actual print time: 19 minutes
Katie told me that the presentation at USITT Special Exhibition was a success. “From presenting at UNC, I was awarded registration funding for the national conference in Salt Lake City (March 2016). I plan on presenting there to continue the conversation.”
Opendesk marketplace side-by-side with the 100kGarages fabrication facility outfitted with a ShopBot Desktop MAX.
During the last weekend in Sept, 2015, 100kGarages and Opendesk collaborated on MakeLocal, a demonstration of local manufacturing at the World Maker Faire in New York. It evolved from a conversation at the Bay Area Maker Faire with Josh Worley of Opendesk about how we might present the concept of distributed and local manufacturing to attendees of events like Maker Faires…people who have come to think that everything has to be made in a big factory, far away! We wanted to make two main points: that these new digital tools make it practical to have the kinds of things that we all need for everyday life made locally again, and that for this to work there has to be a business model where both designer and fabricator are paid for their work.
We strongly feel that the combination of digital design and local digital fabrication enables opportunities for production that can help return manufacturing to our communities. Since it’s always better to show people something than to just tell them, we decided to create a small scale demo of how local fabrication works, with an Opendesk storefront and a 100kGarages fabrication facility right there at the New York Maker Faire. Shelter 2.0 supplied one of its new 8’x8′ shelters to use as the example workshop (“garage”), outfitted with a prototype ShopBot Desktop MAX. Opendesk set up their marketplace experience with computers to browse and purchase products. Assembled and flat-packed samples of each design were displayed to help attendees see what was available, with much of the booth fabricated by a local New York shop.
The weekend started on Thursday with both Josh and myself participating in a Makercon panel on Distributed Making. Hosted by Dale Dougherty, the father of the Maker Movement, the panel also included Andrew Grevstad from Tormach, David Ott from the International Red Cross, and Brian Garret from 3dHub. Lots of interesting perspectives on the future of manufacturing. Friday was a mad scramble to get set up and by the end of the day we had the “garage” up, the tools running, and the Opendesk showroom outfitted with the samples and display pieces. Josh had selected a subset of items from their catalog that both showed the range of designs possible and that all could be fabricated from the material we had selected…24″ x 30″ blanks of 5/8″ Baltic Birch. You can browse and download the 6 designs we fabricated, created by designers from around the world, at https://www.opendesk.cc/make-local
Our plan was for visitors to start in the Opendesk marketplace, where Josh, Will, and Joanna would explain how digital technology has made local manufacturing possible again and let them browse the range of designs available for purchase. The hope was that they would find a design that they couldn’t live without and order it instantly through the Opendesk marketplace. The 100kGarages fabrication shop next door would cut it and “deliver” it to them, with the parts still tabbed in the sheet. Although local manufacturing has real environmental benefits from things like reduced shipping, this might have been the shortest shipping distance ever…about 10 feet!
In the Opendesk marketplace explaining the concept to a Maker Faire attendee.
We didn’t know for sure if Maker Faire attendees would grasp the concept behind MakeLocal and would actually purchase plywood furniture at an event like Maker Faire, but we were overwhelmed by the reception it got. Along with some great conversations, by the end of Sunday we had sold almost 40 pieces of furniture and had to stop sales because we had run out of fabrication time! It was great success and won us an Editor’s Choice Blue Ribbon.
Bill Young with one of the satisfied customers of MakeLocal.
Ted Hall (ShopBot CEO) had a chance to continue his art project that combines CNC carving with an interest in images of shoreline and sky as seen from from the water. It’s been several years since Ted’s last foray into painted carvings of seascapes and time was short, but an opportunity to spend 2 weeks at the Haystack School of Craft on Maine’s Deer Island was too good to pass up – and it was a great opportunity to test out a Handibot in a beautiful and creative setting. Click here to read his blog on the Handibot website.
Jim Lile has quite an impressive background in professional theatre. He earned an MFA from the Yale School of Drama in Technical Design and Production in 1999. Over the years he has been the Technical Director, Stage Manager, Lighting Designer or staff member for a variety of theatrical and dance companies: Norwegian Cruise Lines, Utah Shakespeare Festival, Pensacola Opera, Nashville Opera and The Des Moines Civic Center. Prior to arriving at FSU, Jim was the Production Manager for Indiana University Jacobs School of Music, a position he held for over seven years. He continues to work as a freelance Production Manager, Technical Director and Consultant for several regional opera companies around the country.
Jim Lile is a professional theatre technician and technical manager who also serves as Assistant Professor at the School of Theatre, College of Fine Arts, Florida State University, Tallahassee. Late this summer I met Jim when he was attending the USITT Master Classes at Playmakers Rep on the campus of UNC Chapel Hill, where ShopBot presented classes in CNC technology. (The United States Institute for Theatre Technology is an organization devoted to advancing the skills and knowledge of theatre, entertainment and performing arts professionals in the areas of design and production.)
I spoke with Jim recently about his experiences using CNC in his work and his teaching.
“CNC tools have had a hugely positive impact on theatre set production,” said Jim. “When it comes to set design and production, in many ways we’ve been playing catch-up with lighting and sound design, which have used automated processes for many, many years.”
Jim explained that ShopBot CNC is used for every production at Florida State, whether to create 90-degree cuts for large items such as walls and flooring, or intricate carvings in every set-piece in every material imaginable. “With CNC, you’re only as limited as your imagination,” said Jim.
CNC can provide efficiencies not just in production of the work, but in their storage. “Once you build pieces, you have to figure out where you’ll keep them,” said Jim. “CNC allows you to very resourceful. A recent production of La Boheme, for example, required 30 chairs on the set. How cool would it be to do a flat-pack design and CNC the chairs, then disassemble them for storage?”
CNC enables set designers to have their visions executed faithfully, with a rapidity that was not imaginable before this technology came into being:
Jim expained, “We used our ShopBot 96 x 48 tool to create this rhino for an FSU production of James and the Giant Peach; it’s about 6 feet long.”
Jim noted that in the professional theatre world, a small percentage of set designers provide their work in hand drawings, which then need to be translated in to CAD to be readied for the production process; but about 70 to 80% of designers are working in Vectorworks, Sketchup or AutoCAD.
At FSU, Jim teaches the next generation of theatre designers and technicians. He works primarily with graduate students but also a handful of undergrads. “One of the key pieces of the training here is to encourage collaboration,” Jim said. ““In any given project, the scenic designer will draw all the scenic elements, and then provide the design files to a student technician to execute. The student who is going to cut the work on the ShopBot is asked to check and redraw the design files to ensure that they are ready for machining. You have to know every step of the process inside and out. By drafting everything in 3D, we know that our cuts on the CNC will be accurate.”
Jim commented that students coming up in this digital age have some tremendous advantages. “When you are working with CNC, you know that the design you draft is exactly what you will get. A student was recently working and re-working a 1/6th scale model of an antique chair for a production. He was able to prototype the piece quickly, rework the design as it was needed, and rapidly bring it to a stage where it’s ready to be cut full size.”
This rabbit was designed and built for a production of Spamalot, and is approximately 12’ tall.
“The arch was used in a production of Summer and Smoke. It is made out of MDF and white pine, and the cornice is made from white bead foam we had custom cut. The curl detail was cut on the ShopBot.”
Jim said that working with ShopBot has been very positive. “Here at FSU, we’ve got a 96 x 48 tool that is about 10 years old,” Jim explained. “Randy Johnson came down and led a ShopBot Camp here about 2 years ago, during which he performed some needed maintenance work on the tool and provided us with some very useful operational tips.”
Jim continued, “We appreciate our relationship with ShopBot. Randy was on my panel last year at the USITT national conference. Thea Eck will be on my panel at the conference in March 2016 in Salt Lake City about rapid prototyping in theatre. Their knowledge and expertise is very valuable and they do a great job educating members of USITT about how CNC machines can change how we approach the construction process.”
Along with its basic training courses, ShopBot has been working on adding training sessions geared to the needs of specific applications. This led to the company’s participating at the USITT Master Classes at Playmakers Repertory Company. The group of theatre professionals who signed up for classes were at varying levels of CNC knowledge and practice, so ShopBot provided a ‘basic’ training as well as some more specialized training to those with more CNC experience.
ShopBot COO Randy Johnson led a workshop….
…walking participants through some of the nuances of working with V-Carve Pro
ShopBot’s Thea Eck and Al Nyonteh were onhand to teach at the USITT classes.
Randy Johnson assists a student carving a wood project with the ShopBot Desktop.
People have been asking us for some time to develop a means to quickly and precisely zero to the corner of a piece of material anywhere on the table.
This 3-Axis Zero Plate works much like ShopBot’s Z-zero plate, but is able zero the x, y, and z axes simultaneously. It comes with a special routine that touches off multiple points and uses those points to calculate the corner of the plate. It works for both outside corners and inside corners, so you can zero to the outside of a board or to the pocket of a jig. It will even tell you if your workpiece is parallel to the x and y axis of the machine!