Radiolaria
or Devolution of Species
Embedded Files
Inspiration & Ideation
Exploring forms in nature:
The natural world is always inspiring, and I am often working to create forms that express the seemingly simple beauty we see in organic systems.
For this project, I set out to recreate specific forms from nature, specifically Radiolaria, as lessons in form and process, and to then apply those lessons in jewelry designs.
Radioaria are single-cell microscopic organisms that create complex skeletal structures, and have been of interest to me for decades. This interest began with the beautiful illustrations done by Ernst Haeckel, which I first saw in the book Art Forms in Nature, originally published in 1904.
Researching Radiolaria Skeletal Geometry
Starting forms for this project are Ernst Haeckel’s drawings and writings, as well as more recent electron microscopy images.
Electron microscope image of radiolaria skeletons
Illustrations of radiolaria by Ernst Haeckel
Page from another of Haeckel's books, this chapter is titled 'Radiotics'
Specific species are isolated for further researching and modeling. Sketches are done, based on research images, exploring possible jewelry designs.
Digital Process
3D computer models of specific cellular structures are created, then 3D-print those modelsare made in order to evaluate the forms. From there, copies of the models are simplified and stylized, eventually directed into jewelry objects. These pieces are produced using a combination of 3D printing, lost-wax casting, coating, finishing, and jewelry hand-craft techniques.
Constructing 3d CAD Models:
Three-dimensional computer models were created using Rhino3D and Grasshopper3D software (more info on those below).
By recreating biological details in 3D CAD (Computer Aided Design) models, I hoped to learn new 3D modeling techniques and new ways of creating organic form details that would influence later designs.
Other software is used to refine the 3D models. Zbrush is a digital sculpting tool, which helps to smooth and adjust forms/surfaces. MeshMixer is a mesh-editing tool that helps prepare CAD models for 3D printing.
Oscillating Between Virtual and Physical
The work alternates between virtual and physical processes, between what is on-screen in CAD and what is in-hand with 3D prints.
3D printing is not like printing on paper - it's never as simple as File + Print = Done! It requires experimenting with specific printing processes and materials to find what works for the desired level of detail, experimenting in software for editing files to be printable, etc.
3D printing helps to visualize and test ideas. Things never 'read' perfectly on-screen. It helps to have the object in-hand, in order to better assess form, proportion, thicknesses, pattern, etc.
Screen capture of the Rhino3D and Grasshopper3D interface.
Grasshopper is a procedural modeling software that uses a visual programming interface to manage complex data. It executes a procedure, outlined in a program (or definition). Instead of pointing and clicking on specific geometry, the user connects data streams and logic operations to get variable outcomes.
Zbrush is a 3D sculpting software, allowing for detailed modeling and surface smoothing. While Rhino is akin to building with blocks, Zbrush is more like moving clay.
Iterative Design
Working in an iterative design process, it is assumed that things will not go well the first time. There are always scale issues, part thickness issues, and design details to resolve. Each 3D print reveals details to refine. Each iteration reveals areas to refine and new ideas to explore.
After 2-3 rounds of this process (CAD model to 3D print, back to CAD model, etc.), a model is usually about ready for production.
Iterations of CAD models for one earring design
Setting up 3D prints in print software, managing build supports, part thickness, and scale
Physical Process
3D Printing
Different printing processes are used to achieve different end results (such as color, more detail, stronger material, etc.) For this project, an inexpensive resin was used to make test prints for design testing/refinement. That was done on a Formlabs SLA (Stereolithography) printer (see grey prints below).
Final prints were mostly made with a more durable nylon material, using a process called SLS (Selective Laser Sintering). This process creates high-resolution parts that are flexible, durable, and heat-resistant.
3D printing test files in FormLabs resin printer
Test print to evaluate. Build supports on the bottom still need to be cut away.
Multiple test prints are made before producing final models
SLS (Selective Laser Sintering) final production parts
Coating and finishing
Several coating processes were explored, in order to get the desired color and finish.
This included: powder-coating, paint dipping, dyeing, and spray-coating.
For the 'biological models', I created a graphite paint that gives the parts a metallic luster.
For some jewelry parts, a powder-coating process was used. This involves coating the part in a colored polyester powder, then melting/curing that powder in an oven.
Powder coating curing in oven at 375 degrees
Graphite coating, using a mixture of acrylic medium and graphite powder
Dyeing nylon prints in fabric dye
Metal Casting
The silver pieces are made using a combination of 3D printing and lost-wax casting. This is a mixture of very recent high-tech processes with ancient metal-working processes. Lost-wax casting is a 6,000 year old technique, pre-dating the Bronze Age.
The 3D printed parts are made from a resin that has a high percentage of wax, which is able to be burned out during the lost-wax process.
In the lost-wax process, the wax is surrounded by a high-temp plaster material. In a kiln, the wax is burned away, leaving a cavity in the plaster. Then the molten metal is poured into the plaster. The plaster is broken away to leave the metal part where the wax once was.
The cast pieces are then cleaned and polished by hand. They are cut apart and finished using traditional jewelry techniques and hand-tools.
Wax 3d prints, from Form3 resin printer
Wax work to prepare and sprue models for lost-wax investment casting
Kiln and centrifugal casting machine for lost-wax casting
Cast silver parts straight out of mold plaster
Finishing and sanding
Wax print to casting to finished part
Finished part
Results
Three series were created for this exhibition, based on three different biological models
Radiolaria Series 3 - Paracanthia, Biological Devolution in Three Stages
The biological models on the left 'devolves' to the middle form, and is further simplified into the brooch design on the right.
Radiolaria Series 1 - Nassallaria, Biological Devolution in Three Stages
Radiolaria Series 2 - Acantharia, Biological Devolution in Three Stages
Tools
Digital software used for this project:
Physical tools used for this project:
Form3, SLS machine, toaster oven, spray gun, pliers/jewelry tools
(more info an images coming soon)
What's Next?
1) More jewelry designs... create a line for each radiolaria modeled, including earrings, pendant, brooch, ring, and bracelet...
2) Silverware designs: create tableware designs based on specific radiolaria (images of handle ideas...)
Conclusion: Much has been learned in this process, including: complex pattern development; scale and thickness considerations for manufacturing; refined printing and finishing processes. From here, the plan is to produce more of these series, and to do more iterations of the jewelry. Every object created inspires the next concept for experimentation, a series of endless adjacent possibilities. In addition to jewelry designs, there are several silverware concepts in development, based on similar forms and patterns in nature.
More info and work at:
More info and work at:
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