The Leonardo Slam idea was launched during Ars Electronica ( http://www.interface.ufg.ac.at/leonardo-slam/ )…it was picked up by Pablo Reyes during the UTDallas Leo50 Birthday party as a collaboration between the ATEC 3D Studio directed by Prof Andrew Scott and the ATEC ArtSciLab co directed by Cassini Nazir and Roger Malina. At the Leo50 Birthday Party an ATEC awarded to the first ATEC director Tom Linehan.
3D Studio provides a space for the exploration of Art, Design, and Technology through intensive project-based studio practice. Computer Numeric Controlled (CNC) tools such as laser cutters, mills, large format 2D printers, and 3D scanners and printers provide the platform of discovery through invention, collaboration and hands-on building activities that resonate beyond the school and into the larger university community.
See the Pablo Reyes Leo50 slam on youtube with the voice of Tom Linehan ( Leonardo Editorial Board member for decades and helped Leonardo pilot through the chaos of an emerging community of practice
Inspired by the fusion between artistic and technological practices fostered at the school of Arts, Technology, and Emerging Communication, Pablo Reyes created a digital sculpture based of the Leonardo Journal’s brain logo. Combined with the philosophy of ideas being arbitrary, his model recreates Leonardo’s 50th Anniversary Logo by implementing digital fabrication and projection mapping techniques into a piece that activates with digital paint.
The 3D model was created in Rhino 3D using curves and surfaces. The curves were drawn over an image of the logo, then the points were edited to translate the 2D image into a 3D object. Surfaces were created between the curves to create a more solid object. The edges on the outside were extruded to include two levels of rim around the model to give it more depth. It was then exported and taken into Pepakura to be unfolded for fabrication.
After choosing where the seams would be in Pepakura and editing the flaps that would be used for construction, the cutting blueprints were exported to Adobe Illustrator so that they could be saved as PNGs. These image files were taken into MadMapper, a projection mapping software, and arranged to project onto 48in x 96in long sheets of cardboard. The corners, edge numbers, and fold types were marked before the sheets were placed flat on the ground to draw the lines between the dots. They were then cut out and folded where marked. Once all of the pieces were cut, they were organized in preparation for assembly.
Finding one matching seam at a time, the pieces were held together using Loctite super glue. After all pieces were connected, the seams were reinforced on both the inside and outside with hot glue. The seams were then covered using long pieces of white tape. To create a cleaner look and a better prepared surface for projection mapping, the brown cardboard was painted white with two coats of house paint. Finally, slits were cut in four places along the top to allow for it to be hung from the ceiling using canvas straps.
About the artist:
Pablo Reyes was born in Mexico City and arrived in the U.S. at the age of 14. He graduated from Elsik High school in Houston, Texas. Afterwards, he pursued UTD’s Mechanical Engineering program during his freshman year, before changing majors. His current degree plan in the school of Arts, Technology, and Emerging Communication (ATEC), where he focuses on design and production combining elements of his engineering experience with digital fabrication and projection mapping. Pablo plans to continue his education at the university, pursuing a Masters in Fine Arts program, hoping to become a teacher for the school that empowered his aspirations.