Tam

I've been wanting to sculpt this pose for a long time. I love the intertwined limbs and the opportunity to rest the chin on the knee to avoid using support material. I think the photo is by Tam Nguyen but I haven’t been able to locate it online. 

This type of pose is sometimes called an ‘implied nude’ because the breasts and genitals are not visible in the photo. This doesn’t usually affect the 3D version, of course, since a sculpture can be viewed from any angle, but in this case the only way to pose the figure is with the breasts compressed by the limbs.

My first attempt worked out OK as a pose, but failed as a 3D print because I tried to make the hair out of individual strands and the retractions just ground up the filament - should have guessed!

So I reverted to my tried and trusted formula of selecting a nice hairstyle and then shrink-wrapping and resculpting it in Blender.

I chose a nice metallic grey Fillamentum PLA filament for this print and sliced the model with Simplify3D. The print was made on my new Sapphire-S coreXY printer from twotrees adapted with a Flex3Drive extruder system. This keeps the print-head as lightweight as possible, giving some of the smoothest prints I've ever achieved.

I'm particularly pleased with how well the sculpted hair has printed on this model. It can still be improved further, though, and I'm working on that. The second version, lower down this page, has more detail sculpted in the flatter areas.

I had to add automated support material in a couple of places - under the left breast and the left front part of the hair. Unfortunately, this did leave some nasty scarring visible on the thigh and abdomen, which I was unable to hide. This set me thinking about other ways to add support.

It occurred to me that one way to avoid the ugly scars left after removing support material would be to try and construct a sort of platform sitting over the left leg on which the support could then rest. I fired up Blender and came up with these pieces of scaffolding.

The larger piece supports the nose and the dangling strands of hair. The smaller piece supports the underside of the left breast.

The innovation here is that I realised I could combine manually created scaffolding that projects into difficult to reach areas, with auto-generated support provided by the slicer to fill in the last few millimetres.

By using this approach, I can scale the model up to any size without having to worry about the support gap - it will always be perfect for my printer because the final gap is still decided by the slicer software.

Both support pieces broke away cleanly from the model leaving no scarring anywhere on the thigh or abdomen - a much cleaner result!

Notice in the picture below how the small chunks of auto-generated support sit on top of the large manually created blocks.

You can also clearly see here how much better the hair looks now with the extra detail sculpted into it.

Tyce

Well, I said I would start a new model when I hit the 50,000 views mark and it's happened. I was inspired by this photo of Eléa Joly by Antoine Tyce and so created a pose closely based on the original. 

The really big news this time is that HiveWire3D have released a new version of their Dawn model which has far better handling of extreme joint positions. And best of all, Dawn SR2 is fully licensed for 3D printing (non-commercial, personal use without an additional license). This means that I can now legally use my own 3D printers to print posed models.

The enjoyable part for me is working out how to pose the model in a realistic, but still printable, way, that looks both interesting and unusual but still natural and anatomically correct. I chose to move the left hand downwards to make printing easier and to allow me to scale the model up a bit larger inside the printable volume of my largest printer. Placing the left hand on the right thigh seemed natural and ensured a printable outcome. 

Making the resulting meshes printable is now just a minor chore that usually takes less than an hour to complete. Simplify 3D does a great job of generating just the right amount of support material so that the undersides of surfaces are printed as cleanly as possible. I still like to print at 0.1 mm resolution so that as much of the detail is preserved as possible. The print ran for 30 hours without a hitch and looks great.

Here are some photos and a video of the print before and after the support material was removed. I have lightly sanded the undersides in preparation for my first attempt at painting a model.

And now here is the model painted.

I used a matte black spray paint as an undercoat and then used a dry brushing technique to apply a metallic bronze acrylic paint.

Lush

This beautiful photo of Kayleigh Lush was one of the 100 photos taken by Ray Rapkerg and published on Twitter.

It's another interesting and challenging pose and also presents a great opportunity for me to practice sculpting hair.

The fingers of the right hand only make light fingertip contact with the ground which would present a problem during printing, so I have added a thin disc to anchor the hand firmly and take the weight of the right forearm.

Here is another angle which gives a better view of the hair.

The model printed well at the first attempt but needed plenty of support material under the face and breasts.

Here is a selection of views after removing the support material and ending with a video showing the model from all sides.

The next picture and the video were taken in full sunlight which brings out the amazing sheen in the printed plastic. It's called Christmas Green PLA from 3D Filaprint.

The obligatory full rotation view video.

Shame

I'm going to try and create a sculpture based on this picture next. I like the off-balance lines, the hidden face and the twisted shape.

The photo is by Tomas Rucker and is called 3 in his White series of nudes.

Here's the model I have created so far, viewed in Blender. The pose is clearly not identical but you can see where it takes its inspiration from.

When I came back to work on this pose I wasn't happy with it. The sinuous nature of the original pose had almost completely gone and the new hand position somehow changed the story. I decided to do some more work on the posing.

Then I thought it might be interesting to document the steps needed to make a posed model printable.

Hide the hair
Remove the eyelashes

Circle select eyes and mouth in side view

Shift-H hides everything else. Trim out the eyes and mouth and close up the holes in the mesh.

Hair models in character posing software are almost always totally unprintable items. I have found that the quickest way to make them printable is to use the ShrinkWrap modifier on a dense Isosphere placed in a position surrounding the hair model. Then using the project option in a negative direction, you can send all the points of the sphere inwards until they meet some point on the hair, leaving you with a single water-tight mesh. Some fairly intense smoothing removes all the jagged edges and leaves a very passable, and printable, copy of your chosen hair design. 

This just needs Boolean merging with the head which usually works OK, as long as the eyes and mouth have been fixed first. 

Now we need to deal with overlapping limb parts. There are several ways of doing this.
1. The quick and dirty method.
Use Autodesk's Project Miller to re-skin the visible external surface which hides any internal overlaps.
2. Use sculpt mode to flatten overlaps from the inside.
3. Use Boolean union to eliminate the overlaps. This option is interesting but doesn't work on a single mesh with overlapping parts. So why not just chop up the parts into separate meshes? Worth exploring, I think.

I started at the feet and worked upwards, using option 2 to eliminate any of the areas where the mesh of one limb poked through another. There is a typical example where the thighs cross. I used Box select to highlight all the affected vertices and then Shift-H to hide everything else.

From the inside you can see the bulge of the left thigh poking through into the inside of the right thigh, and vice versa.

I started by changing from Edit mode to Sculpt mode and then using first the Flatten brush and then the Smooth brush on the bulge to make it disappear. 

By working from both sides I could keep the contact area flat.

This works well where there is a small bulge across a large area, but is less effective where a larger, more complex part needs removing. So for the intersection of the arms and the left breast I decided to try a different tack and used option 3.

I rotated the model by 35 degrees around the vertical so that a horizontal plane would neatly bisect the upper arms. I then loaded the model into NetFabb which has a very nice plane cut function which provides a kind of X-ray preview of the slice before making the cut.

My cunning plan was to slice the model into a number of separate parts, make each one into a separate water-tight mesh and then Boolean merge them back together thus dealing with a number of complex overlaps at a stroke.

After making the cut, each half needed to be saved separately. The forearms, in the lower half, could then be selected and split off into a separate model. Here is the main torso piece.

My plan worked almost perfectly, only failing when the last piece in the sequence refused to Merge with the rest. I suspected that this was because the Boolean engine was struggling to cope with the intersecting parts and closing the loop of a torus and recognising the relative inside- and outside-ness of both ends at the same time. I fixed that by making another thin cut that took a slice out of the arms in an area with no complex intersections. Using that slice as the final merge then worked successfully. 

I added a simple bevelled cylinder to the base to make a stand. Eventually, I had reached the point where the only crossed meshes remaining were in both armpits. I spent a fairly lengthy mesh-editing session trying to clean up the mess but finally decided to take the easy way out and used Project Miller to re-skin the model for me. Don't know what I'd do without that bit of kit!

The main reason for going to all this trouble with the model was so that I could use Simplify3D as my slicer. Cura is better at handling faulty meshes but Simplify generates better support material that breaks cleanly away after printing.

I had intended to print this model on my tall delta printer, but it isn't coping well with this hot weather and the motors seem to be prone to skipping steps. So I went back to the Mendel90 and printed a small test version.

3D printed version in coffee-brown PLA before and after removing the support material.

Just like Pensive, one of my earliest works, the fingers are only slight wider than the extruded filament at this scale. It really needs to be printed twice as big as this. As soon as the cooler weather returns I'll try again on the delta printer.

Brenda Lynn

This photo of Brenda Lynn Acevedo, found on the Bella Donna blog, caught my eye for a couple reasons. Firstly, having her arms (and, in my imagination her legs) held either flat or vertically makes them easy to print without support; and then of course there is the way that her breasts gently rest on the floor giving them a profile that reminds me of a Piet Hein superegg (go and look it up and you'll see what I mean).

The fluid nature of (natural) breast tissue means that it naturally reshapes itself in response to gravity. (Of course, the same is true of all fatty tissue, but the models in these photos don't usually have much surplus fat in other places, so this issue generally only affects the breasts.) Character modelling software allows you to position the limbs, trunk and head in anatomically plausible positions, but also allows you to change the shape, size and position of the breasts. One thing that it doesn't do very well though is to model the impact of gravity on mobile breast tissue; there are add-on pieces of morphing software that give an additional level of control, but nothing I have found yet that mimics the effect of gravity on natural breasts in a reclining position.

So, after exporting the best pose I could manage from the posing software, I started sculpting in Blender until the breasts had a shape I was happier with and which I was ready to try printing. 

Feeling lazy, I used the clock rewind trick to bring Project Miller back to life again and quickly generated a single watertight mesh from the multi-object base and then did one more smoothing iteration.
I used Simplify3D for the slicing and made sure there was plenty of support material around the right arm so that the small point of elbow contact with the bed wasn't put at risk of failure.
I decided to use a nice wood-coloured PLA from 3D Filaprint and after a long 16 hour print this is what the printer produced.

Opinion: I'm generally very pleased with this one. There are couple of areas that could be improved - some distortion around the heel, and rather too little support material in the small of the back and between the shoulder blades.

Postscript: I decided to adjust the layer positions and try a reprint. This one came out even better.