New Making

Restricted Data

Through the increase in digital devices coming between us as People, the capture of data has become a prevalent tool to learn more about the routines of day to day living. These personal devices have disrupted the Souvenir marketplace, through offering the capabilities to record, track and capture the unique elements which make-up each individuals experiences.


This project looks at how the art of data visualisation can be brought to traditional product design. Offering the consumer a personalised data-set through a tangible interface, which can only be interpreted with permission from the individual.

By creating a Data Animation Kit, it offers a gateway to show consumers the importance of their personal data.

In the beginning, I took interest in a study investigating the location that souvenirs are placed across our homes, drawing focus to the function a souvenir offers when back at home.

My focus throughout this project considered the interaction across the Fringe period through to arriving back home. Exploring how the perceived value of the product can change once it’s taken out of context. This lead me to propose a multi-functional Animation tool and Memory Box.

The art of data visualisation provides a universal language enabling each individual to create a unique set of data identifiable to only themselves. By developing a guide to introduce the users into the curation of personal data, it provides them with a platform to explore their data portrait, what sort of data they value about an experience.

This Zoetrope kit embodies an essence of the fringe with posters from previous years and captures the present by animating personalised datasets to timelessly capture their unique experiences across the city.

New Making

The Edinburgh International Book Festival Journal

The Edinburgh international Book Festival itself does not offer many souvenirs, apart from bookmarks and passes or tickets. This may be because a signed book will always hold the highest value to an attendee of the EIBF, as it provides a personal connection between the author of the literature that an attendee may have owned previously or felt connected to.

Moving forward, I knew that I would not be able to create a souvenir that would replace the value and experience that comes with a signed book. Instead, I decided to create a tool that allowed attendees to document their experiences at the Edinburgh International Book Festival.

The design concept I decided to develop was to create a festival journal that allows users to document their experience at the Edinburgh International Book Festival in creative ways. Taking inspiration from Wreck this Journal and the general concept of journals, I decided to assign each page to a different event at the book festival, with each page containing the same elements. The elements that I thought were important to include were a section where the name of the event could be written, a section for signatures from authors and speakers, as well as section that varied with each page, where it gave small writing challenges to the user. 

Another feature that I decided to include was a section for venue stamps; each tent at the book festival village would have 3D printed stamps that correspond to their names. When the user attends an event in that tent, they can stamp the page they documented that experience on using the specific venue stamp. I thought it was important to include the stamp because it provides a sense of physicality and proof that you actually attended the event; the only way to attend an authentic stamp is by actually going to the event. 

Alternate pages that are included in the journal function as storage and display for bookmarks and postcards, other common souvenirs collected at the book festival. The arcs represent cut sections that allow the items to be slotted in; as bookmarks come in two standard sizes, there multiple slots to allow for this.

New Making

Edinburgh Fringe Posters

Data encapsulates our everyday lives, affecting us in  both positive and negative ways. This project makes use of your data whilst at The Edinburgh Fringe and creates a personalised poster as a souvenir of your experience.

I wanted to create a personalised souvenir that encompasses the Fringe’s lively nature and traditional, iconic posters. Through the use of an app, users document their festival experience with shows and dates. After they have finished their time at the Fringe, a unique poster is created. Each shape in the design correlates with a show the user has been to, with a large organic shape representing the location of venues throughout the city. The app allows users to customise their poster before ordering, with shapes and colours being adaptable. 

Flyers and posters are such an iconic element of the Fringe, however they create tonnes of waste each year. I have decided to create my posters out of recycled flyers and posters from the previous year to help reduce  the festival’s overall wastage.  This project contributes towards The Fringe Society’s goals of a more eco- friendly fringe whilst providing attendees with a personalised souvenir that they can collect year after year.  

New Making

The Fringe Music Box

The ‘fringe music box’ explores a more interactive way of creating souvenirs. By taking cues from traditional music boxes and applying rapid prototyping methods, each Fringe venue can have their own unique punch pattern. Memory and nostalgia are tied with the more sensory and tangible so by utilising the physicality of the ticket and adding an audio element the user can build a more personalised souvenir from The Fringe. 

As the user travels around the different Fringe venues, their weekend pass gets punched upon entry. This builds up a storyline of their own unique Edinburgh Fringe experience. 

User Journey…

We live in in a digital where more and more interactions take place on the screen. This project aims to counter the notion of being restricted by the screen and open up a more tangible and sensory way of experiencing the festival both during and afterwards. All the festival goers will have a storyline but often it’s hidden. The Fringe Music Box unlocks this and allows them to not only enjoy the experience of creating their own souvenir, but the experience of reminiscing afterwards. 

While the music box is very much focussed around process and tangibility, the actual data captured and portrayed is very digital. The ticket builds up the timeline of holes; either on or off. This music then becomes the data of the user’s own individual experience.

New Making

Scaffolding Glitches: Support Structure


In the first six weeks of study, New Making course focus on the production of a series of ‘try-out’ digital fabrication that support skills in using laser cutting, CNC and 3D printing, it aims to develop/experiment material understanding, making processes and digital cultures. In this post, I would like to focus on the explorations of 3D Printing support structure and how it related to the final outcome.

3D Print parts are built layer by layer, each new layer must be supported by the previous layers. It is important to consider support structures and how it may affect to the final result. When working on my week 3 Scaffolding Glitches assignment, I used a half squat female as my model to understand the digital fabrication techniques in a better way. Set up different quality data, nozzle, shell infill, speed, and support structure and to play with the 3D print technology. Also, the squat posture aims to use 3D printing support structure to create a “chair-like” base, which preferably fit her needing, as well as infill pattern and density presenting as the pattern of the “chair”.

The study of the custom print setup introduces me more 3D print technical details of fabrication processes, and how the machine works differently based on the setting.

During the post-processing stage, the support structure usually removed or sanded, but in this further study, I realized support structure could be used as a part of design outcome, even it might add greater material costs and more processing time.

Exploration Process

1. Remodel the original female figure model in MODO Foundr, by adjusting the curvature of her legs (knee: from 90 degrees to 110 degrees)

2. Put into Cura

3. Rotate the figure into three different postures

4. Custom the Print setup:

Generate support

Support placement: everywhere

Support Overhang Angle: 50

Build Plate Adhesion Type: Brim

5. Study the Support (nattier blue) and the Shell (Red)


The different postures of the model present the completely distinct support structure position, time cost, and material use. This application could be used in future furniture design, medical study, or ergonomic study, which producing product that fit human physical needs.

New Making

Digital fabrication

New Making is a course which encourages students to experiment with digital fabrication and understand how both materials and machinery’s boundaries be crossed. The subject areas we were asked to explore included hybrid materials, scaffolding glitches and parametric design.  The machines we had available to work with were 3D printers, laser cutters and CNC milling, with a time frame of one week per exploration. The short time scale was intended to make us create small trials and experiments as opposed to designing a final piece. In this blog post I will briefly go through the three experimentations I have done and then explain the process of the one I have enjoyed the most. Firstly, the work done for hybrid materials had been inspired by Laura Spring’s lecture about her work. I have experimented with weaving techniques initially on fabric and then I proceeded in making laser cut cardboard templates for the weaving to be made. In this way, I was able to explore the combination between old weaving techniques and modern technologies. Secondly, for parametric design we have been introduced to Processing, a coding software, in order to create a 3D print. For this section I have looked into jewelry inspired or made with a parametric design. I found quite fascinating the contrast and the language created when combining geometrical shapes with the fluidity of the human body. The experimentation I worked on was the transformation of a cube to a hollow sphere whose surface is a net. Lastly, for scaffolding glitches I have looked at the artist Do Ho Suh and Unfold Design Studio.  Their work inspired me due to their use of scaffolding and the perception that the structure is the most important part and not the actual inside. With these concepts in mind, I observed the structures created by the scaffoldings and used them to create the object rather than using them just for construction purposes. After the research I have created a few 3D models of fluid shapes and printed them making sure the support material was touching the piece everywhere. This prints created architectural shapes that from first appearance look like to be drawn as a whole piece and not a combination between support material and the modeled shape. Additionally, sections of the piece created extremely interesting shapes while printing. From these observations, I have started cutting the prints in sections and stopping the printer half way to have sections of the scaffoldings and to see the inside structures of them. In conclusion I have created two final explorations, informed by the process undertaken. 

New Making

Understanding infills

Within 3d printing, infill and scaffolding are what keep the object alive and present, understanding the different types is therefore very important. This investigation is all about seeing inside the object to better know how to make them, and knowing what might be done to make them better.

The slices of the apple, going left to right, use Gyroid infill, Octet, tri-hexagon, and Cross 3d.
New Making

Developing Parametric Organisms

Designing through parameters produces a series of constraints and rules the model has to follow, my final artefact looks to visually interpret these boundaries and demonstrate the affordances in-between.

Working with software such as OpenScad provides a simple set of rules which can be applied to producing 3-Dimensional models. I found that using this tool to enclose a sphere within a cube was quite Ironic, constraining the model within it’s own parameter.

Collaborating with a machine is often a one sided conversation, yet throughout New Making, I’ve found that working with the Cura and the Unimaker printers has been an interesting conversation. Showing me how to look through my print and adapt the travels to make it possible to print aspects without support, while also teaching me what support infill to use, based on the individual model shape.

While I harnesses digital fabrication to produce a value driven design, I wanted to change the structure post print. To do this, I reduced the infill density, increasing the malleability of the PLA when exposed to high heat.

Across the experiments I’ve carried out, returning back to deconstruct the printed piece gave me the most satisfaction. I feel that this is due to removing my hands from the craft of making, watching a machine process a binary code which can be replicated infinitely.

New Making

Unity In Diversity

The ever-growing depletion of the natural environment is not a new topic to be hearing today. Look at how many trees we chop off, amount of oil spill on the sea that cause many living creatures to suffer, air pollution that can’t be erased from the used-to-be bright blue sky. These are some of the harmful impacts we caused towards the natural environment that once used to be beautiful.

Through exploring traditional and new making from Hybrid materialities, scaffolding glitches and parametric design, I was able to come up with my own definition of what they stand for.

Traditional making can be referred as craftsmanship and manually working on a model. Its involves your physical abilities sometimes when making products as it needs strength and patience. This way of making things involves hand usage and specialisation.

New making on the other hand is a process of making products through the use of digitally forward mechanism. living at this age, this time, the process of making things becomes to simple that as a designer could save time on the model making process and iterate more towards the final output

A final output I want to share is this street sculpture that represents a topic that represents a big part of me as an Indonesian, Unity in Diversity

Indonesia is a Southeast Asian country made up of thousands of volcanic islands, is home to hundreds of ethnic groups speaking many different languages. From that many islands, I focused more into the island of java, where people of many diversities is unified as one.

Fusion 360 Rendering
Materials: 3D printed PLA(black color), waste Kraft paper, Coffee waste, Epoxy Resin, on cling wrap

The shape of the object imitates the rough edges of our “Candi” which translates to Temple in english. While as the object in the middle is symbolic for Buddha, which promotes peacefulness. Altogether, it reflects to our country’s slogan, unity in diversity

pura ulun danu bratan temple, Java, Indonesia.

I was inspired by this type of “candi” , only found in the island of Java. The interesting part of this Candi is that people from this area only believes in how humans would have 11 instead of 13 chances to live to reach the 7th sky, which is believed to be heaven. This culture is not known to a very big amount of audience. Indonesia is made up of many islands, not just Bali. That is the message I want to relay to viewers. Hence, to introduce my country Indonesia to many more audience, I wanted to use this as a symbol.

Buddha, Candi Borobudur , Yogyakarta, Java, Indonesia

The buddha on the other hand, will be symbolic for the parametric object in the middle of my piece. All in all, the different walls will convey a deep meaning of different varieties of people from different culture and background, and the middle as a symbol of peacefulness and unity. This piece is a modern design which depicts an old value. Through the combination of using new and traditional making process, I hope viewers will see the significance of this piece.

New Making

Hybrid Materiality : The Natural and Unnatural

During the New Making course I explored the potential for digital fabrication to be combined with one other material though a series of hybrid objects. 

I focused around the juxtaposition between the natural and the unnatural, using a combination of wood, cork and rock to contrast with the laser cut acrylic.

When the brief around hybrid materiality was set I was unsure where to start, typically my design process involved sketching, iterating, development and then finally making. This forced me to tip this notion on its head, as before I’d done any sketching I was looking for whatever scrap material I could use to create a hybrid material. 

After finding some scrap acrylic I quickly create a file I could laser cut and experiment with. By ensuring there were pockets left in the material I allowed space I could use to blend another into. However, I wanted to join this with 3D natural materials to create the contrast, but how could I join the 2D acrylic and the 3D wood and rock?

Recently, I’d seen an article on melting plastic bottles around broken chair legs to ‘fix’ them. Was there a way I could do something similar but use purposely designed digital fabrications to create a more unique form?  

The object at the front of the photo features a broken stick with heat gunned acrylic wrapped around. As the acrylic has cooled down, it’s contracted and held the acrylic in one place. I hadn’t anticipated the way that a material carries on changing after I’d formed it. 

Another similar object is the perforated rectangle of acrylic I’d twisted and morphed into a more fluid and natural through the heat gun. I  found the entanglement of the natural wood within the precise and glossy acrylic and interesting contrast. It was almost as if the wood was still growing and had altered the shape of the plastic it’s self.

In the centre of the photo, my main piece of the series combines the learning I’d used when heat gunning acrylic around natural forms with the use of an additional material to aid the joining. Creating this piece I allowed me to experiment with texture and form in a more intuitive and fluid way that i’d never associated with ‘digital fabrication’. 

Is there a future in digitally fabricated materials that have had an added human and natural interaction? Would this create objects that harness the benefits of both digital craft and hand craft into one piece? 

Overall, I found this project made me reconsider what it means to ‘design something’. The design process has no definitive right or wrong, but as we develop new materials and process maybe we need to fill our initial linear process on its head? Materials don’t just need to be part of the end of the process, they can be within the experimental, iterative and design idea stage. 

Could we think more about design through making not design for making?

New Making

Parametric Design Exploration

Throughout the New Making course, I explored multiple techniques that can be used together to create elements of design that would not otherwise have been possible 50 years ago. The exploration of parametric design was something that I found particularly interesting within the course. Parametric design is ‘a process based on algorithmic thinking that enables the expression of parameters and rules that, together, define, encode and clarify the relationship between design intent and design response’. By defining different parameters, you are able to digitally create intricate shapes, sculptures and structures within a matter of minutes that without the use of technology would take hours and hours of man power, if not, being impossible. 

The ability to create these shapes was something that I found very interesting. I started my exploration within the software ‘Processing’. This was something that I had never tried before but saw a similar resemblance to Arduino coding which I have done in the past. Through iteration and exploration, I was able to create an immediate visual, on screen 3D shape that was adaptable and theoretically printable. I struggled to figure out how to actually export the code from Processing as an STL file for printing which led me to try new software. 

The second software I tried was ‘Open sCAD’, I found this relatively easy to get to grips with and immediately started experimenting with different shapes whilst watching different tutorials online for help. I felt slightly limited with this software in terms of what I would have liked to make versus what the software would allow me to do, however that may have just been down to my lack of knowledge. One thing that I did appreciate about the Open sCAD software was the easy of exporting an STL for print. This is where I made my first two prints, both iterations of the same parametric shape, made from multiple different sized triangles pieced together. I had to print both structures with scaffolding to support them which unfortunately detracted from the defined, geometric finish I intended. 

The most enjoyable part of my parametric exploration was when I started using Grasshopper, a plugin for Rhino. This took a lot of tutorial watching to get the fundamentals and I still feel as if I only know a small portion of the software but it allowed me to create organic shapes with a fluidity and satisfying aesthetic. I found these objects to replicate that of some architecture pieces where there is a juxtaposition between the brutalist nature of the external façade with the fluidity of the shape and structure. I went on to use parametric design within my final artefact where I also put to use the brim created by the 3d print as part of my final shape. Often the adhesion plate is discarded and only used for printing, however I thought it would be interesting to incorporate this into my design itself. 

I think that the exploration of parametric design is something that will take a huge amount more practice to learn how to incorporate it into my real-world designs, however as an exploration point of view, I have learnt enough to get me started.   

New Making

New Making – Hidden Vessels

My final artefact for New Making features a 3D printed shell that employs the cross pattern infill as small vessels. While infill material is often hidden from view, this artefact showcases it. Despite the fact that it no longer supports the object encasing it in the intended way, the vessels now provide a new kind of support for different materials.

The base object originates from a dodecahedron that has been sliced at various axes to create different geometry. However, instead of completing the print, it was halted during the process to create an unfinished and unrecognisable shape, as well as to showcase the infill pattern.

Each vessel contains a different colour of cured resin with varying finishes. The acrylic dyed resins have a more opaque and flaky finish, which gives the illusion of depth. The resin dyed with india ink has a clearer finish and allows the details of the 3D print to show through. 

Abstract wire flowers painted with resin, along with thread ‘bushes’ create the image of an abstract garden. I wanted to highlight the juxtaposition of nature with digital fabrication, while using various materials and craft methods to create different textures and finishes.