Ultra-Black Material, Sustainably Made From Wood

Researchers at the University of British Columbia leveraged an unusual discovery into ultra-black material made from wood. The deep, dark black is not the result of any sort of dye or surface coating; it’s structural change to the wood itself that causes it to swallow up at least 99% of incoming light.

One of a number of prototypes for watch faces and jewelry.

The discovery was partially accidental, as researchers happened upon it while looking at using high-energy plasma etching to machine the surface of wood in order to improve it’s water resistance. In the process of doing so, they discovered that with the right process applied to the right thickness and orientation of wood grain, the plasma treatment resulted in a surprisingly dark end result. Fresh from the plasma chamber, a wood sample has a thin coating of white powder that, once removed, reveals an ultra-black surface.

The resulting material has been dubbed Nxylon (the name comes from mashing together Nyx, the Greek goddess of darkness, with xylon the Greek word for wood) and has been prototyped into watch faces and jewelry. It’s made from natural materials, the treatment doesn’t create or involve nasty waste, and it’s an economical process. For more information, check out UBC’s press release.

You have probably heard about Vantablack (and how you can’t buy any) and artist Stuart Semple’s ongoing efforts at making ever-darker and accessible black paint. Blacker than black has applications in optical instruments and is a compelling thing in the art world. It’s also very unusual to see an ultra-black anything that isn’t the result of a pigment or surface coating.

Boss Byproducts: Fordites Are Pieces Of American History

Some of the neatest products are made from the byproducts of other industries. Take petroleum jelly, for example. Its inventor, Robert Chesebrough, a chemist from New York, came upon his idea while visiting the oil fields of Titusville, Pennsylvania in 1859. It took him ten years to perfect his formula, but the product has been a household staple ever since. Chesebrough so believed in Vaseline that he ingested a spoonful of it every day, and attributed his 96-year longevity to doing so.

Well, some byproducts can simply be beautiful, or at least interesting. On that note, welcome to a new series called Boss Byproducts. We recently ran an article about a laser-engraved painting technique that is similar to the production of Fordite. I had never heard of Fordite, but as soon as I found out what it was, I had to have some. So, here we go!

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It Turns Out, A PCB Makes A Nice Watch Dial

Printed circuit boards are typically only something you’d find in a digital watch. However, as [IndoorGeek] demonstrates, you can put them to wonderful use in a classical analog watch, too. They can make the perfect watch dial!

Here’s the thing. A printed circuit board is fundamentally some fiberglass coated in soldermask, some copper, maybe a layer of gold plating, and with some silk screen on top of that. As we’ve seen a million times, it’s possible to do all kinds of artistic things with PCBs; a watch dial seems almost obvious in retrospect!

[IndoorGeek] steps through using Altium Designer and AutoCAD to layout the watch face. The guide also covers the assembly of the watch face into an actual wrist watch, including the delicate placement of the movement and hands. They note that there are also opportunities to go further—such as introducing LEDs into the watch face given that it is a PCB, after all!

It’s a creative way to make a hardy and accurate watch face, and we’re surprised we haven’t seen more of this sort of thing before. That’s not to say we haven’t seen other kinds of watch hacks, though; for those, there have been many. Video after the break.

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Raptor DID. Photo by Matt Mechtley.

How Jurassic Park’s Dinosaur Input Device Bridged The Stop-Motion And CGI Worlds

In a double-blast from the past, [Ian Failes]’ 2018 interview with [Phil Tippett] and others who worked on Jurassic Park is a great look at how the dinosaurs in this 1993 blockbuster movie came to be. Originally conceived as stop-motion animatronics with some motion blurring applied using a method called go-motion, a large team of puppeteers was actively working to make turning the book into a movie when [Steven Spielberg] decided to go in a different direction after seeing a computer-generated Tyrannosaurus rex test made by Industrial Light and Magic (ILM).

Naturally, this left [Phil Tippett] and his crew rather flabbergasted, leading to a range of puppeteering-related extinction jokes. Of course, it was the early 90s, with computer-generated imagery (CGI) animators being still very scarce. This led to an interesting hybrid solution where [Tippett]’s team were put in charge of the dinosaur motion using a custom gadget called the Dinosaur Input Device (DID). This effectively was like a stop-motion puppet, but tricked out with motion capture sensors.

This way the puppeteers could provide motion data for the CG dinosaur using their stop-motion skills, albeit with the computer handling a lot of interpolation. Meanwhile ILM could handle the integration and sprucing up of the final result using their existing pool of artists. As a bridge between the old and new, DIDs provided the means for both puppeteers and CGI artists to cooperate, creating the first major CGI production that holds up to today.

Even if DIDs went the way of the non-avian dinosaurs, their legacy will forever leave their dino-sized footprints on the movie industry.

Thanks to [Aaron] for the tip.


Top image: Raptor DID. Photo by Matt Mechtley.

Laser Art Inspired By The Ford Motor Company

Have you ever heard of Fordite? It was a man-made agate-like stone that originated from the Ford auto factories in the 1920s. Multiple layers of paint would build up as cars were painted different colors, and when it was thick enough, workers would cut it, polish it, and use it in jewelry. [SheltonMaker] uses a similar technique to create artwork using a laser engraver and shares how it works by showing off a replica of [Van Gogh’s] “Starry Night.”

A piece of Fordite on a pendant

The technique does have some random variation, so the result isn’t a perfect copy but, hey, it is art, after all. While true Fordite has random color layers, this technique uses specific colors layered from the lightest to the darkest. Each layer of paint is applied to a canvas. Only after all the layers are in place does the canvas go under the laser.

The first few layers of paint are white and serve as a backer. Each subsequent layer is darker until the final black layer. The idea is that the laser will cut at different depths depending on the desired lightness. A program called ImagR prepared the image as a negative image. Adjustments to the brightness, contrast, and gamma will impact the final result.

Of course, getting the exact power settings is tricky. The best result was to start at a relatively low power and then make more passes at an even lower power until things looked right. In between, compressed air cleared the print, although you have to be careful not to move the piece, of course.

There are pictures of each pass, and the final product looks great. If art’s not your thing, you can also do chip logos. While the laser used in this project is a 40-watt unit, we’ve noted before that wattage isn’t everything. You could do this—probably slower—with a lower-powered engraver.

Fordite image By [Rhonda]  CC BY-SA 2.0.

A rough cut piece of wood sits on a workbench. A light and a tumbleweed are mounted on top so that the light shines through the tumbleweed. A woman in a ball cap and white tank top is crouched in the background smiling.

Cisco Ball Is The Tumbleweed Opposite Of A Disco Ball

Inspiration can strike a maker at any moment. For [Laura Kampf], it happened in the desert when she saw a tumbleweed.

Tumbleweeds roll through the western United States, hitting cars on the interstate and providing some background motion for westerns. [Kampf] found the plant’s intricate, prickly structure mesmerizing, and decided to turn it into a piece of contemplative kinetic art.

[Kampf] attached the tumbleweed to a piece of wood using epoxy and mounted it to what appears to be a worm drive motor nestled inside an interestingly-shaped piece of wood. As the tumbleweed turns, a light shines through it to project a changing shadow on the wall to “create silence, it creates calmness, it takes away from the noise that surrounds it.” While [Kampf] has some work to do to get the sculpture to its finished state, we can get behind her mantra, “The most important thing about the phase of execution is to get started.”

Are you looking for some projects of your own to help you find calm? How about some ambient lighting, a sand drawing table, or a music player that keeps things simple?

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Pixel Art And The Myth Of The CRT Effect

The ‘CRT Effect’ myth says that the reason why pixel art of old games looked so much better is due to the smoothing and blending effects of cathode-ray tube (CRT) displays, which were everywhere until the early 2000s. In fits of mistaken nostalgia this has led both to modern-day extreme cubism pixel art and video game ‘CRT’ filters that respectively fail to approach what pixel art was about, or why old games looked the way they did back with our NES and SNES game consoles. This is a point which [Carl Svensson] vehemently argues from a position of experience, and one which is likely shared by quite a few of our readers.

Although there is some possible color bleed and other artefacts with CRTs due to the shadow mask (or Sony’s Trinitron aperture grille), there was no extreme separation between pixels or massive bleed-over into nearby pixels to create some built-in anti-aliasing as is often claimed unless you were using a very old/cheap or dying CRT TV. Where such effects did happen was mostly in the signal being fed into the CRT, which ranged from the horrid (RF, composite) to the not-so-terrible (S-Video, component) to the sublime (SCART RGB), with RGB video (SCART or VGA) especially busting the CRT effect myth.

Where the pixel art of yester-year shines is in its careful use of dithering and anti-aliasing to work around limited color palettes and other hardware limitations. Although back in the Atari 2600 days this led to the extreme cubism which we’re seeing again in modern ‘retro pixel art’ games, yesterday’s artists worked with the hardware limitations to create stunning works of arts, which looked great on high-end CRTs connected via RGB and decent via composite on the kids’ second-hand 14″ color set with misaligned electron guns.