There are still details to be worked out. ![]() Your final framing of the entire sun dial could maybe use wood, or definitely a metal that would patina nicely. As wood seems to be out for its inherent properties outdoors, maybe score stone tiles with the laser (for the precision) and then cut them on a wet saw. Considering how much work this would be I would want the final result to be a piece of art. So, as jacobturner mentioned, scale it up: as in a garden piece. A laser cutter’s strengths are precision and a decent scale. Otherwise you’re succumbing to the when the only tool you have is a hammer the world is full of nails fallacy. My personal opinion is that for the demonstrated scale use a 3D printer. Yes, you would have to do it at a larger scale or enjoy working with tweezers. Your slats then fit perpendicularly into your half-circle piece. Then cut a second half circle piece of material with slots cut out of it. I think what jacobturner was getting at (at least it is how I would do it) is first cut a half circle piece of material - no slots, just a solid piece. One solid layer in the middle to adhere to, and one slotted segment on each side to hold the slats for each digit.Īdded bonus, since you are working in layers already, the entire thing doesn’t have to be a success in one run, if a single digital segment is a problem, you just take out that one segment and re-do. Here we made our main dial plate with 12 mm plywood and our gnomon is made with 2 mm ply. Our sundial is a simple one, its a horizontal sundial. I would say minimum of 3 layers between each segment. A sundial can be achieved with few simpler tools and materials. Import the existing 3D model in to your software of choice, cut it apart so you have isolated each digital segment, then just run those as voids into a semi-circle. Since each segment is uniform across the digit, the models would be very easy to design. But acrylic needs to be as opaque as possible so that the tiny slats fully block sunlight as desired. I would say avoid wood for this, since you obviously want to place it outside, and any expansion from moisture will be disaster. This should allow you to more easily cut the insert slats to get the shadows you want. ![]() ![]() ![]() Take advantage of being on a larger bed, and increase the scale so that the radius of the cylinder (bulk shape) is the full 20" of a Pro. But turning it sideways and cutting guides for slats would totally work. I was being too rigid in my thinking and just slicing it the way you would for 3D printing. A 3D Printed Sundial Displays Time Like a Digital Clock FebruChristopher Jobson Using a clever mix of 3D printing and a few well-placed shadows, this sundial designed by Mojoptix projects the actual time as if displayed on a digital clock. The Renovations to the clock-face and to the movement are noted, along with a sug¬ gestion of the role presumably played by Filippo Brunelleschi in the planning of the timekeeper for the Cathedral of Flor¬ ence.Oh, good analysis. of sundials from the Greeks, they increased the variety of designs available. The research then focuses on the commissions re¬ ceived by Paolo Uccello from the Opera del Duomo, including the clock-face and its iconography. The oldest true sundial, that we know of, is an Egyptian shadow clock made. Following a description of the painted face and its function, the paper pre¬ sents connections to other twenty-four-hour Italian public clocks, with a special eye to extant or recorded public clocks in Tuscany. Such researches have rarely interacted: this paper will try to relate these studies from different disciplines. The frescoed clock by Paolo Uccello in the church of Santa Maria del Fiore in Florence has been studied as a time¬ piece, by archivists, historians, historians of science, and ho-rologists, and as a work of art, by historians of art and restor¬ ers. Telling Time in Florence Cathedral: the Frescoed Clock by Paolo Uccello and Coeval Tuscan Public Clocks
0 Comments
Leave a Reply. |