Simple Automata Extravaganza

[Federico Tobon] from [Wolfcat Workshop] spent Makevember in 2017 building a series of fascinating automata using the most basic of craft supplies and simple tools in his workshop. Using a combination of rigid materials such as wooden cubes, popsicle sticks, and paper clips and pliable ones like paper and rubber bands, his creations are way more delightful to play with compared to fidget spinners.

There are no assembly guides, instructions or building plans, but for a hacker, one look at these designs ought to be enough to glean how to build one, with some trial and error to get it right. And that is exactly what [Tobon] found to his delight. After sharing animated GIFs of his creations on social media, numerous other hackers built and shared their own versions of his designs as well as building some new ones.

He posts several other useful resources, some of which were the inspiration that got him started making these automata. All of them are pretty interesting, so do take a look at them too. There is a lot that young kids can learn from building these little machines, given some guidance and help from the elders. But the way we see it, it’s likely the old folks will enjoy them more.

The video after the break compiles all of the little machines for six minutes of viewing pleasure.

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Create An Aurora Of Your Own

Throughout our day-to-day experiences, we come across or make use of many scientific principles which we might not be aware of, even if we immediately recognize them when they’re described. One such curiosity is that of caustics, which refers not only to corrosive substances, but can also refer to a behavior of light that can be observed when it passes through transparent objects. Holding up a glass to a light source will produce the effect, for example, and while this is certainly interesting, there are also ways of manipulating these patterns using lasers, which makes an aurora-like effect.

The first part of this project is finding a light source. LEDs proved to be too broad for good resolution, so [Neuromodulator] pulled the lasers out of some DVD drives for point sources. From there, the surface of the water he was using to generate the caustic patterns needed to be agitated, as the patterns don’t form when passing through a smooth surface. For this he used a small speaker and driver circuit which allows precise control of the ripples on the water.

The final part of the project was fixing the lasers to a special lens scavenged from a projector, and hooking everything up to the driver circuit for the lasers. From there, the caustic patterns can be produced and controlled, although [Neuromodulator] notes that the effects that this device has on film are quite different from the way the human eye and brain perceive them in real life. If you’re fascinated by the effect, even through the lens of the camera, there are other light-based art installations that might catch your eye as well.

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This Creepy Skull Shows Time With Its Eyes

Sometimes you have an idea, and despite it not being the “right” time of year you put a creepy skull whose eyes tell the time and whose jaw clacks on the hour into a nice wooden box for your wife as a Christmas present. At least, if you’re reddit user [flyingalbatross1], you do!

The eyes are rotated using 360 degree servos, which makes rotating the eyes based on the time pretty easy. The servos are connected to rods that are epoxied to the spheres used as eyes. Some water slide iris decals are put on the eyes offset from center in order to point in the direction of the minutes/hours. An arduino with a real time clock module keeps track of the time and powers the servos.

Check out the video after the break:

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This Is A Kickstarter For None More Black

Vantablack is the darkest pigment ever created, capable of absorbing 99.96% of visible light. If you cover something in Vantablack, it turns into a black hole. No detail is presented, and physical objects become silhouettes. Objects covered in Vantablack are outside the human experience. The mammalian mind cannot comprehend a Vantablack object.

Vantablack is cool, but it’s also expensive. It’s also exclusively licensed by [Anish Kapoor]’s studio for artistic use. Understandably, artists have rebelled, and they’re making their own Vantablack-like pigments. Now, the World’s Blackest Black is on Kickstarter. You can get a 150 ml bottle of Black 3.0, something that’s almost black as Vantablack, for £10.

Is this a photoshop? Who knows.

The pigment for Black 3.0 is called Black Magick, and yes, there was a version 2.0 The problem with the earlier version is that although the pigment was blacker than almost anything else, paint isn’t just pigment. You need binders. The new formulation uses a new acrylic polymer to hold the pigment, and ‘nano-mattifiers’ to make the paint none more matte.

What can you do with the blackest black paint you’ve ever seen? Well, taking pictures of an object covered in the blackest black is a tiny bit dumb. This is something that must be experienced in person. You could paint a car with it, which is something I really want to see. You could follow [Anish Kapoor] around in the shadows. Use it as a calibration target. Who knows what we’ll do with the almost-Vantablack when everyone has it.

Adventures In Photopolymers With Ben Krasnow

There is a technology that will allow you to add inks, resins, and paints to any flat surface. Screen printing has been around since forever, and although most of the tutorials and guides out there will tell you how to screen print onto t-shirts, [Ben Krasnow] had the idea of putting patterns of paint on acrylic, metal, or even ITO glass for electroluminescent displays. With screen printing, the devil is in the details, but lucky enough for all of us, [Ben] figured everything out and is sharing his knowledge with us.

The ten thousand foot view of screen printing is simple enough — put some ink on a screen that has some photoemulsion, and squeegee it through onto a t-shirt. While this isn’t wrong, there’s a lot of technique, and things will go wrong if this is your first time doing it. Screens are easy, and the best way to get those is by buying a pre-stretched frame. The photoemulsion is a bit different. The old way of applying a photoemulsion is by squeegeeing it on with a bizarre tool. It’s almost impossible to get a thin consistent layer with this technique, so [Ben] recommends just buying some photoemulsion film.

Once the photoemulsion is on the screen and dry, you need to put an image on this. The photoemulsion cures hard with UV, so the traditional technique is using transparency (actually, the real old-school way is using a camera obscura…). Transparency sheets for laser printers work, but 30-lb vellum is actually more transparent to UV light than clear acetate sheets. This is then applied print side down to the dry screen, and believe me when I say this is the most important part. You will not get a good screen print if there is not direct contact between your photomask and your photoemulsion. This is so important, it may be worth considering some experiments in vinyl cutting to create the photomask.

With the screen developed, it’s simply a matter of globbing on some ink and pressing it onto a piece of acrylic. [Ben] used regular oil paints, an unmixed artists’ oil paint, and the professional solution, epoxy-based screenprinting paint. By far, the epoxy paint gave the best finish, but it’s a stinky mess that is nearly impossible to clean.

With a somewhat successful screenprinting setup, what will [Ben] be able to do? Well, he’s been working on electroluminescent displays, and the first EL displays were screenprinted anyway. More than that, you could use screen printing to create a resist for copper etching for creating your own PCBs. There’s a lot you can do when you can put epoxy down in a thin layer, like make a blockchain of Tide pods, and this is the best tutorial we’ve ever seen on using photoemulsions.

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To Make Reproduction Train Whistles, The Old Ways Are Best

Late last year, artist [Steve Messam]’s project “Whistle” involved 16 steam engine whistles around Newcastle that would fire at different parts of the day over three months. The goal of the project was bring back the distinctive sound of the train whistles which used to be fixture of daily life, and to do so as authentically as possible. [Steve] has shared details on the construction and testing of the whistles, which as it turns out was a far more complex task than one might expect. The installation made use of modern technology like Raspberry Pi and cellular data networks, but when it came to manufacturing the whistles themselves the tried and true ways were best: casting in brass before machining on a lathe to finish.

The original whistles are a peek into a different era. The bell type whistle has three major components: a large bell at the top, a cup at the base, and a central column through which steam is piped. These whistles were usually made by apprentices, as they required a range of engineering and manufacturing skills to produce correctly, but were not themselves a critical mechanical component.

In the original whistle shown here, pressurized steam comes out from within the bottom cup and exits through the thin gap (barely visible in the image, it’s very narrow) between the cup and the flat shelf-like section of the central column. That ring-shaped column of air is split by the lip of the bell above it, and the sound is created. When it comes to getting the right performance, everything matters. The pressure of the air, the size of the gap, the sharpness of the bell’s lip, the spacing between the bell and the cup, and the shape of the bell itself all play a role. As a result, while the basic design and operation of the whistles were well-understood, there was a lot of work to be done to reproduce whistles that not only operated reliably in all types of weather using compressed air instead of steam, but did so while still producing an authentic re-creation of the original sound. As [Steve] points out, “with any project that’s not been done before, you really can’t do too much testing.”

Embedded below is one such test. It’s slow-motion footage of what happens when the whistle fires after filling with rainwater. You may want to turn your speakers down for this one: locomotive whistles really were not known for their lack of volume.

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TOTO Forever Widescreen

Somewhere Down In Africa Toto Is Playing On Loop

Amidst the vast expanse of sand dunes in the Namib desert, there now exists a sound installation dedicated to pouring out the 1982 soft rock classic “Africa” by Toto. Six speakers connected to an MP3 player all powered by a few solar powered USB battery packs, and it is literally located somewhere down in Africa (see lyrics). The whole project, known as TOTO FOREVER, was the creation of film director [Max Siedentopf] who himself grew up in Namibia.

“I set up a sound installation which pays tribute to probably the most popular song of the last four decades…and the installation runs on solar batteries to keep Toto going for all eternity.”

Max Siedentopf, Creator of TOTO FOREVER

[Siedentopf] certainly chose a song that resonates with people on a number of levels. Toto’s “Africa” was one of the most streamed songs on YouTube in 2017 with over 369 million plays. The song continues to reach a new generation of fans as it has also been the subject of a number of internet memes. Though those local to the sound installation have had some less than positive things to say. [Siedentopf] told BBC, “Some [Namibians] say it’s probably the worst sound installation ever. I think that’s a great compliment.”

The idea of the installation “lasting for all eternity” will certainly be difficult to achieve since the components most certainly lack any serious IP rating. The audio player itself appears to be a RHDTShop mp3 player that according to its Amazon listing page, has three to four hours of battery life per charge. Considering the size of those solar cells the whole thing will probably be dead in a week or two (it is in a desert after all), but no one can deny the statement TOTO FOREVER makes. Below is some footage of the art piece in action taken by the artist himself.
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