Cameron Sherman

Design Project #2: Remixing 3D Designs

The goal of Project #2 was to remix existing 3D models by combining elements from different designs, modifying them using 3D modeling software, and printing the final models. This project was divided into two parts: using TinkerCad for remixing and using Fusion360 for more advanced modifications. The objective was to explore 3D modeling, enhance design skills, and gain hands-on experience with 3D printing processes.

Part 1: TinkerCad Remixing

Concept & Design Process

For the first part of this project, I decided to recreate a visual representation of my favorite joke “A horse walks into a bar. The bartender says, ‘Why the long face?'” To bring this concept to life, I planned to combine a horse model with a bar model using TinkerCad. I initially sketched out my design, but I found that my proportions were off because I started with the horse rather than defining the 3D environment first. To streamline the process, I opted to download an .stl file of Moe’s Tavern from The Simpsons as my bar model, which allowed me to focus on placing the horse correctly within the scene.

TinkerCad Modeling Process

1. Importing .stl Files: I sourced a 3D horse model and a Moe’s Tavern model from Thingiverse and imported them into TinkerCad.
2. Alignment & Scaling: Initially, I had difficulty positioning the horse inside the tavern because my snap grid was set to 1mm. After turning the snap grid off, I gained finer control over object placement.
3. Modifications: To ensure a proper fit, I adjusted the scale of the horse and tweaked the dimensions of the tavern’s doorway. I also removed unnecessary walls and adjusted the model’s orientation for printing efficiency.
4. Grouping & Exporting: Once I finalized the positioning, I grouped the elements in TinkerCad and exported the final .stl file.

3D Printing Process

1. Importing to PrusaSlicer: I imported the .stl file into PrusaSlicer and adjusted the scale slightly to fit within the printer’s build volume.
2. Support Structures: Since the design had overhanging parts, I added support structures to ensure the print’s structural integrity.
3. Printing: I initiated the print and monitored the process for any errors or warping.
4. Post-Processing: After printing, I removed the supports carefully. However, I noticed some rough edges where the supports had been attached. More precise removal tools or finer support settings in PrusaSlicer could have improved the post-processing quality.

Resluts and Observations

The final print successfully represented the joke, with the horse positioned within the bar. The overall print quality was satisfactory, though I could have optimized the support removal process to reduce imperfections. Additionally, adjusting the model’s orientation before slicing could have improved print efficiency and reduced filament waste.

Part 2: Remixing with Fusion360

Concept & Design Process

For the second part of the project, I decided to create a functional, auto-opening PokéBall. I found inspiration from a Reddit post that had a similar design and chose to personalize it by adding my nickname, "Cam," to the top half of the PokéBall.

Fusion360 Modeling Process

1. Importing .stl Files: I downloaded the PokéBall model components from the aformentioned tutorial.
2. Design Adjustments: Initially, I attempted to assemble multiple components in Fusion360 but faced difficulties in merging them effectively. Based on advice from Ben and Ian, I shifted my approach to modifying a single component rather than assembling multiple parts.
3. Mesh Conversion: To engrave my name into the top of the PokéBall, I first had to convert the imported mesh into a solid body.
4. Adding the Name: Using Fusion360’s text tool and following an online tutorial, I debossed my nickname "Cam" into the surface of the top half of the PokéBall. While I originally considered an embossed design, I found the debossed look more aesthetically pleasing and easier to print.
5. Exporting: After finalizing the modifications, I exported the modified .stl file for printing.

3D Printing Process

1. Importing to PrusaSlicer: I imported the modeified .stl file into PrusaSlicer and added supports for the overhanging sections.
2. Printing the Top Half: The print quality was good overall, but the very top of the PokéBall's hemisphere did not print completely. Thankfully, this issue was minimal and did not impact the functionality of the PokéBall.
3. Printing the Other Components: I proceeded to print the remaining components and followed the assembly steps outlined in the tutorial.

Resluts and Observations

The final product was a fully functional PokéBall that opens and closes with a button press. The debossed name on the top half turned out well, adding a unique, personal touch to the design. The minor issue with the top hemisphere could have been avoided by slightly increasing the infill percentage or adjusting the print orientation.

Design Project #3: Form and Fit for Electronics

The Lightning McQueen Chassis Enclosure Series

The Laser Cut House Chassis Enclosure Series

Design Project #4: Open-source Assistive Technology

For Project 4: Open Source Assistive Technology, I took a dive into the world of open-source technologies, more specifically, e-NABLE Community Foundation’s second iteration of the Phoenix Hand. By navigating through the e-NABLE community hub, I was able to create and assemble a 3D-printed prosthetic hand, all with the help of my project partner, Erica Hwang. With an approach that could be described as a balance of divide-and-conquer and hands-on teamwork, we were able to use our strengths and weaknesses to work together to create a Phoenix v2 hand, all the while learning a lot about rapid prototyping for assistive devices.

4.1: Reviewing Documentation

To begin Project 4, I started by navigating through both the e-NABLE hub’s Phoenix v2 Hand page as well as e-NABLE’s page on NIH 3D Print Exchange. Navigating through both pages was not too difficult, as each page only took a few user inputs to get to the correct destination. Ultimately, though, I chose to use the e-NABLE hub’s direct page, as their page makes it easier to access all of the necessary information needed to assemble the hand (.stl files, video tutorials, .pdf tutorials, etc.). This is mainly because it takes more user inputs (searches, clicks, keyboard inputs) to access all the proper materials on the NIH page than the e-NABLE hub. A little difference like this can go a long way. After choosing the e-NABLE hub to be my base of information for assembling the hand, I had to choose which instructions to follow: a video tutorial or a .pdf instruction manual. I ended up using both the .pdf instructions and multiple video tutorials, as both had their strengths and weaknesses. For example, I found that the .pdf instruction manual was better for more general instructions such as what parts we needed to use and how to make simple assembly maneuvers. The videos, on the other hand, were better for more precise instructions, as the creators of each video went pretty slow in assembling their Phoenix v2 Hands, which proved especially useful for stringing the joints, which required detailed instructions and precise assembly maneuvers. A suggestion for both could be more labels in each video, and more precise instructions for the stringing in the .pdf manual.

4.2: 3D Printing and Assembling the Model

To begin the assembly process, I downloaded the parts in the form of .stl files from the e-NABLE community page for the Phoenix v2 hand. My next objective was to scale the parts at a 150% size, since at 100% scale, the Phoenix v2 hand would be too small to fit an able-bodied adult’s hand. While this proved to be more of an inconvenience rather than a challenge, the real challenge came from fitting all the scaled parts within a limited number of Prusa MINI+ 3D Printer build plates. At first, I tried to fit all of the scaled parts within three plates in PrusaSlicer, but I (along with everyone else assembling their own Phoenix v2 hand at 150% scale) realized that it would be impossible to additionally generate supports for each part, as there would be overlap. Therefore, I settled for an efficient four-plate print. After some additional time spent moving parts around in PrusaSlicer, I was able to come up with the layout as seen above.

The assembly process was relatively smooth. Initially, we used the .pdf instruction manual, as most of the steps in the first few stages were straightforward and did not require a video. When we got to stringing the fingers, however, we switched to looking at multiple videos, as the .pdf instructions did not provide a comprehensive enough guide for how to do the stringing. Even though we had a video, this step proved to be challenging, as sometimes we would tie one too many knots on a finger, use the wrong screw, or choose to insert a string with the wrong length.

Regardless of these setbacks, we were able to persevere through the design process and complete our assembly of a functional 3D-printed Phoenix v2 prosthetic hand at 150% scale! See the video in the introduction to view its functionality.

4.3: Extending, Critiquing, and Reflecting

Although the hand was complete, my job was not finished. My next task was to sketch and create an extension for the Phoenix v2 prosthetic hand. I quickly decided I wanted to make a Spider-Man web shooter to attach on top of the gripper box, but how would I do that? First, I created a sketch of my design and decided I would make a holder for a can of Spider-Man Web Fluid (silly string). It would then be attached to a trigger, which is attached to a string tied to the middle and ring fingers. When the wrist is bent and the middle and ring fingers go down, the string is pulled, pushing the trigger, which releases the web fluid.

To be completely honest, because I did not have access to a computer with Fusion 360 when I had the time to make my design, I had to model my web-slinger in TinkerCAD, as it is a web application. The modeling went alright, though there was one problem I faced: how could I have the lever be pushed back when the string is attached to the lever? I thought about it for a while, and even considered a backwards web-launcher, when I realized that the most optimal course of action would be to scrap the string tied to the trigger, and instead have it go over the trigger, so that when the string tightens due to flexing of the wrist, the trigger would be pressed and web-fluid would shoot.

This project highlighted the power of open-source assistive technology and the role of inclusive design in fostering accessibility, adaptability, and community-driven innovation. Through assembling the Phoenix v2 prosthetic hand and designing an extension, I gained a deeper appreciation for rapid prototyping as a tool for empowering individuals with limb differences. e-NABLE’s collaborative model aligns with Microsoft’s Inclusive Design principles by recognizing diversity as a strength, embracing iterative design, and actively seeking feedback from end users to refine solutions. Sara Hendren discusses in What Can a Body Do?, assistive technology should not only restore function but also embrace the creativity and agency of those who use it. My experience creating a Spider-Man web shooter extension reinforced the idea that prosthetic devices can be more than just functional, they can also be expressive and personalized. Ultimately, this project underscored the ethical responsibility designers have in ensuring that technology is not only accessible but also meaningful and engaging for those who rely on it.

ENGR11a Final Project: Tactile Maps for an Accessible Brandeis

AccesibiliTeam Members: Kayla DiBenedetto, Najla Khan, Vivian Rothberg, Cameron Sherman

Interviews

The four of us had a great time conducting each interview, despite the fact that only two or three of us were at each interview due to the inevitable scheduling conflict. However, the limited number of interviewers proved to be beneficial, as a maximum of three interviewers per interview meant everyone was doing something, as one person would always be taking notes, while the remainder of people would be asking questions. As for the content of the interviews, they all went smoothly, as each interviewee seemed excited about the potential of our projects and willing to help. We were able to get a much better understanding of what its like having a visual impairment or working with people with visual impairments from multiple perspectives.

Empathy Maps

Defining the Problem through Brainstorming and Themes

Although our interviews took slightly longer to conduct, we had already completed extensive research and brainstorming beforehand. This preparation enabled us to efficiently arrange the insights and identify key themes: Tactile Features & Sensory Elements, Navigation & Movement, and Fixed Reference Points. Using these three themes, we were able to create insight statements, which are statements that translate raw data into meaningful findings in the pursuit of innovation. They are of upmost importance because mportant because they help organizations understand consumer motivations, uncover unmet needs, and identify opportunities for improvement.

Insight Statements & Further Analysis: "How Might We..."

Tactile Features & Sensory Elements

How might we point out the most salient features of the Brandeis campus in a way that makes use of clear labeling, high contrast, and texture variation in our design?

• Use different fabrics and 3D-printed surfaces in our tactile map to create a variety of textures
• Add elevated blocks to indicate stairs
• Focus on academic buildings and support centers rather than other infrastructure (such as out-of-the-way housing and athletics facilities)
• Incorporate multiple labeling systems for different protocols

Navigation & Movement

How might we improve the ability for people to navigate the Brandeis campus, especially those with visual impairments, so that everyone is on an equitable plane when moving around?

• Create our maps with distinct textures and place them around campus
• Map smaller sections of the Brandeis campus that can be carried by the student with them (compared to the stationary map)

Fixed Reference Points

How might we incorporate landmarks and indicate entrances of buildings into our overall design?

• Use a different texture on the buildings to include the most accessible entrance or indicating it in braille/with a symbol
• Add a "you are here" symbol with a distinct texture

Storyboard

After brainstorming and creating our insight statements, we concluded that creating a master map to be put on campus would be the best way to go about executing our vision. Based on our feedback, we would focus on:

• Academic buldings, accesibke dorm rooms, and dining halls
• Making use of high visual and texture contrast
• Emphasizing where the enterances to buildings are

We plan to bring our vision to life by using a mixture of 3D printing and laser cutting, as well as added materials for texture. We also made a storyboard to show how a potential user would interact with our product, as seen below:

Storyboard Feedback

After presenting our storyboard to our classmates, we recieved some helpful feedback from them to inform our design process. The summarized feedback is shown below:

3D Printed Map #1: Massel Quad area (Photos coming soon!)

For our first prototype, we created two products: a laser-cut map of Massell Quad and a Braille calibration test. Using TouchMapper, we generated a digital map and converted it into an SVG compatible with Lightburn. We manually added buildings to scale and chose to laser-etch the paths for tactile clarity. We also printed a Braille legend test with three sizes: 1.7 mm, 1.6 mm, and 1.5 mm. Later, we met with Elana to test both items. She liked the etched paths but recommended making the roads thicker. For the Braille, she preferred the 1.7 mm size, with the 1.6 mm still readable, while the 1.5 mm was too small. We’ll be using the 1.7 mm size going forward and are excited to keep working with Elana on refining our final design!

Design Review: an Analysis of Classmate and Interviewee Feedback

Annotated Bibliography