In this chapter, we will convert the 2D curve of our profile into a 3D mesh that is properly sized for our pendant. The skills that will be covered are as follows:
Now that we have finalized the shape of our curve, we want to translate that layout to a format that will be easy to combine with other 3D objects. We want to make our curve into what's called a mesh. As a curve, each segment is defined by two control points and two handles, which makes it easy to define and edit.
That same shape as a mesh is comprised of numerous points (vertices) and line segments (edges):
Viewing the curve in Edit Mode gives you a preview of where the final vertices will be. The arrows that show the direction of the curve also illustrate where the points will be.
You can select how many vertices will ultimately define each curve segment. On the bottom right of your screen is an area known...
Now that our profile is a mesh, you will be working in terms of vertices, edges, and faces. Vertices are the points that make up the edges. Edges, in turn, are the borders that make up faces. In 3D printing, the slicing software is ultimately concerned with the faces of your object. An object with just vertices and edges would not print.
When you are in Edit Mode, you have the ability to view and edit all three elements of a mesh. There are now icons at the bottom of the screen that will let you switch your Selection Mode. If you select the leftmost icon, which is a yellow point on a cube, you will be in Vertex Select mode, where right-clicking will select specific vertices in your model. Selecting the middle icon, a yellow line on a cube, will put you in Edge Select mode and allow you to pick the edges or the outline of our profile. There...
You have your first face, but your model is not yet a full 3D object. You are going to need to give your object some height to give your printer something to do. Before we do that, let's learn a little more about our face and how it will behave.
Although it is completely flat and 2D, your first face already has an inside and an outside, a front and a back. A quilt square is also flat, but there is a definite outside, the part with the pattern that will be seen, and a definite inside. Your face doesn't have the fancy colors of a quilt square, but you can still tell which part is the "front" and which part is the "back." The 3D...
Before we go any further, this is a good point to reflect on the thoughts from Chapter 1, Thinking About Design Requirements, and to size our piece appropriately for the function and the printing process you have in mind. Looking at pendants I already own, I'm thinking a suitable size for this pendant would be 1 1/2" tall. This is an item that may look fantastic in cast metals from a 3D Printing Service Bureau. If I did decide to go that route, I would make the piece thinner to save on cost.
My starting dimensions would likely be as follows:
| Dimension | Service Bureau (Shapeways Plated Metals) |
At home (FFF/FDM) |
| Length | 1 1/2" (38.1mm) | 1 1/2" (38.1mm) |
| Width | Proportional to length | Proportional to length |
| Height (thickness) | 0.8mm | 2mm |
In this chapter, you converted a Bezier curve into a mesh. You learned how to select vertices and edges and how to create a brand new face. Next, you learned about the Extrude tool and how to make that 2D face into a 3D object. Finally, you learned how to update the dimensions and scale of your object to make sure it is properly sized for your needs.
In Chapter 4, Flattening a Torus and Boolean Union, you will finalize your pendant by adding a hook at the top.
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