The Brennan torpedo, invented in 1877 by Louis Brennan, was one of the first (if not the first) guided torpedoes of a practical design. Amazingly, it had no internal power source but it did have a very clever and counter-intuitive mode of operation: a cable was pulled backward to propel the torpedo forward.
If the idea of sending something forward by pulling a cable backward seems unusual, you’re not alone. How can something go forward faster than it’s being pulled backward? That’s what led [Steve Mould] to examine the whole concept in more detail in a video in a collaboration with [Derek Muller] of Veritasium, who highlights some ways in which the physics can be non-intuitive, just as with a craft that successfully sails downwind faster than the wind.
The short answer is gearing, producing more force on the propeller by pulling out lots of rope.
Back in 2018 we saw [Carl]’s earliest versions making their first spins and it was clear he was onto something. Since then they have only improved, but improvement takes both effort and money. Not only does everything seemingly matter at such a small scale, but not every problem is even obvious in the first place. Luckily, [Carl] has both the determination and knowledge to refine things.
Hardware development is expensive, especially when less than a tenth of a millimeter separates a critical component from the junk pile.
The end result of all the work is evident in his most recent test bed: an array of twenty test motors all running continuously at a constant speed of about 37,000 RPM. After a month of this, [Carl] disassembled and inspected each unit. Each motor made over 53 million rotations per day, closing out the month at over 1.6 billion spins. Finding no sign of internal scratches or other damage, [Carl] is pretty happy with the results.
These motors are very capable but are also limited to low torque due to their design, so a big part of things is [Carl] exploring and testing different possible applications. A few fun ones include a wrist-mounted disc launcher modeled after a Spider-Man web shooter, the motive force for some kinetic art, a vibration motor, and more. [Carl] encourages anyone interested to test out application ideas of their own. Even powering a micro drone is on the table, but will require either pushing more current or more voltage, both of which [Carl] plans to explore next.
Getting any ideas? [Carl] offers the MotorCell for sale to help recover R&D costs but of course the design is also open source. The GitHub repository contains code and design details, so go ahead and make them yourself. Or better yet, integrate one directly into your next PCB.
Got an idea for an application that would fit a motor like this? Don’t keep it to yourself, share in the comments.
The ease of integrating bendy parts into designs is one of 3D printing’s strengths. A great example of this is [uhltimate]’s six-shot blaster which integrates several compliant mechanisms. The main blaster even prints in one piece, so there’s not even any assembly required.
The ergonomics are unconventional, but the design is pretty clever.
The blaster itself has three main parts: the trigger, the sear, and the striker. Each of them rely on compliant mechanisms in order to function. The user pulls back the trigger, which hooks into and pulls back the striker. When the trigger is pulled back far enough, the sear releases the striker. This zips forward and slams into a waiting projectile, sending it flying.
The other interesting part is the projectiles and magazine in which they sit. The magazine fits onto the front of the blaster and pulling the trigger allows the magazine to drop down, putting the next projectile into firing position. After the final round is fired, the empty magazine falls away. It’s a pretty clever design, even if the ergonomics are a little unusual and it relies on gravity in order to feed. Tilt it too far sideways or upside down, and it won’t load properly.
A distinct blue pigment reminiscent of turquoise or a clear sky was used by the ancient Maya to paint pottery, sculptures, clothing, murals, jewelry, and even human sacrifices. What makes it so interesting is not only its rich palette — ranging from bright turquoise to a dark greenish blue — but also its remarkable durability. Only a small number of blue pigments were created by ancient civilizations, and even among those Maya blue is unique. The secret of its creation was thought to be lost, until ceramicist and artist [Luis May Ku] rediscovered it.
Maya blue is not just a dye, nor a ground-up mineral like lapis lazuli. It is an unusual and highly durable organic-inorganic hybrid; the result of a complex chemical process that involves two colorants. Here is how it is made: Indigotin is a dye extracted from ch’oj, the Mayan name for a specific indigenous indigo plant. That extract is combined with a very specific type of clay. Heating the mixture in an oven both stabilizes it produces a second colorant: dehydroindigo. Together, this creates Maya blue.
Luis May Ku posing with Maya blue.
The road to rediscovery was not a simple one. While the chemical makeup and particulars of Maya blue had been known for decades, the nuts and bolts of actually making it, not to mention sourcing the correct materials, and determining the correct techniques, was a long road. [May] made progress by piecing together invaluable ancestral knowledge and finally cracked the code after a lot of time and effort and experimentation. He remembers the moment of watching a batch shift in color from a soft blue to a vibrant turquoise, and knew he had finally done it.
Before synthetic blue pigments arrived on the scene after the industrial revolution, blue was rare and highly valuable in Europe. The Spanish exploitation of the New World included controlling Maya blue until synthetic blue colorants arrived on the scene, after which Maya blue faded from common knowledge. [May]’s rediscovered formula marks the first time the world has seen genuine Maya blue made using its original formula and methods in almost two hundred years.
Maya blue is a technological wonder of the ancient world, and its rediscovery demonstrates the resilience and scientific value of ancestral knowledge as well as the ingenuity of those dedicated to reviving lost arts.
When it comes to transmissions, a geared continuously-variable transmission (CVT) is a bit of a holy grail. CVTs allow smooth on-the-fly adjustment of gear ratios to maintain a target speed or power requirement, but sacrifice transmission efficiency in the process. Geared transmissions are more efficient, but shift gear ratios only in discrete steps. A geared CVT would hit all the bases, but most CVTs are belt drives. What would a geared one even look like? No need to wonder, you can see one for yourself. Don’t miss the two videos embedded below the page break.
The outer ring is the input, the inner ring is the output, and the three little gears with dots take turns transferring power.
The design is called the RatioZero and it’s reminiscent of a planetary gearbox, but with some changes. Here’s how the most visible part works: the outer ring is the input and the inner ring is the output. The three small gears inside the inner ring work a bit like relay runners in that each one takes a turn transferring power before “handing off” to the next. The end result is a smooth, stepless adjustment of gear ratios with the best of both worlds. Toothed gears maximize transmission efficiency while the continuously-variable gear ratio allows maximizing engine efficiency.
There are plenty of animations of how the system works but we think the clearest demonstration comes from [driving 4 answers] with a video of a prototype, which is embedded below. It’s a great video, and the demo begins at 8:54 if you want to skip straight to that part.
One may think of motors and gearboxes are a solved problem since they have been around for so long, but the opportunities to improve are ongoing and numerous. Even EV motors have a lot of room for improvement, chief among them being breaking up with rare earth elements while maintaining performance and efficiency.
The 3D structure of origami-inspired designs comes from mountain and valley fold lines in a flat material. Origami designs classically assume a material of zero thickness. Paper is fine, but as the material gets thicker things get less cooperative. This technique helps avoid such problems.
An example of a load-bearing thick-film structure.
The research focuses on creating so-called “thick-panel origami” that wraps rigid panels in a softer, flexible material like TPU. This creates a soft hinge point between panels that has some compliance and elasticity, shifting the mechanics of the folds away from the panels themselves. These hinge areas can also be biased in different ways, depending on how they are made. For example, putting the material further to one side or the other will mechanically bias that hinge to fold into either a mountain, or a valley.
Thick-panel origami made in this way paves the way towards self-locking structures. The research paper describes several different load-bearing designs made by folding sheets and adding small rigid pieces (which are themselves 3D printed) to act as latches or stoppers. There are plenty of examples, so give them a peek and see if you get any ideas.
We recently saw a breakdown of what does (and doesn’t) stick to what when it comes to 3D printing, which seems worth keeping in mind if one wishes to do some of their own thick-panel experiments. Being able to produce a multi-material object as a single piece highlights the potential for 3D printing to create complex and functional structures that don’t need separate assembly. Especially since printing a flat structure that can transform into a 3D shape is significantly more efficient than printing the finished 3D shape.
If one has a multi-material printer there are more options than simply printing in different colors of the same filament. [Thomas Sanladerer] explores combinations of different filaments in a fantastic article that covers not just which materials make good removable support interfaces, but also which ones stick to each other well enough together to make a multi-material print feasible. He tested an array of PLA, PETG, ASA, ABS, and Flex filaments with each in both top (printed object) and bottom (support) roles.
A zero-clearance support where the object prints directly on the support structure can result in a very clean bottom surface. But only if the support can be removed easily.
People had already discovered that PETG and PLA make pretty good support for each other. [Thomas] expands on this to demonstrate that PLA doesn’t really stick very well to anything but itself, and PETG by contrast sticks really well to just about anything other than PLA.
One mild surprise was that flexible filament conforms very well to PLA, but doesn’t truly stick to it. Flex can be peeled away from PLA without too much trouble, leaving a very nice finish. That means using flex filament as a zero-clearance support interface — that is to say, the layer between the support structure and the PLA print — seems like it has potential.
Flex and PETG by contrast pretty much permanently weld themselves together, which means that making something like a box out of PETG with a little living hinge section out of flex would be doable without adhesives or fasteners. Ditto for giving a PETG object a grippy base. [Thomas] notes that flexible filaments all have different formulations, but broadly speaking they behave similarly enough in terms of what they stick to.
[Thomas] leaves us with some tips that are worth keeping in mind when it comes to supported models. One is that supports can leave tiny bits of material on the model, so try to use same or similar colors for both support and model so there’s no visual blemish. Another tip is that PLA softens slightly in hot water, so if PLA supports are clinging stubbornly to a model printed in a higher-temperature material like PETG or ABS/ASA, use some hot water to make the job a little easier. The PLA will soften first, giving you an edge. Give the video below a watch to see for yourself how the combinations act.
