普通视图

Received before yesterday

An Adapter Adapter

2026年3月23日 23:43

Over the weekend, one of the amazing student Technologists, Link did a clean and reorganizing of the resin 3D printer station. The printer gives off some nasty fumes, so she was able to procure an air purifier set up just for such printers. Unfortunately, the model available doesn’t directly connect with our Prusa SL1S. Link put the air filter in place, but had to resort to duct tape to get it ti connect to the resin printer. It didn’t work.

So when I came in this morning and saw the need for an adapter to the adapter, I knew what I was going to do today!

I spent some time thinking about the best options. An insert with magnets? But how does the original adapter stay put on the new adapter?

Well, there are screw holes, how about using them? Yep, that’s the ticket. Basically replicate the bottom of the original adapter so it can screw to the new, then add a whole bunch of magnets!

Alt text

And it worked on the first try! I had to double up the magnets in order to make it strong enough to stay on, and the gasket printed in TPU could be a little bit thicker. But it was a great success!

Alt text

The models are available on Printables.com for download and 3D printing.

Gear Train Assemble!

2026年3月19日 19:01

seven versions of the holder so far

On the heels of the knowledge gained from the last post figuring out the gear train numbers, I set out to model the gears and a holder.

And immediately I was confronted with an issue with my calculations.

The Problem

At the end of all my learning and calculating, I decided:

It looks like 36mm (servo) —> 12mm|36mm —> 12mm (pinion) 
has smaller gears and gives good enough range.

One thing I forgot to consider is the length of the servo horn that is used to connect the servo to the gear. I could do without it, but trying to design and print such a small toothed hole has issues. I have seen others try and filament 3D printing does not provide fine enough detail to mesh well with the servo gear. So using the supplied horn attachment makes things much easier.

The problem, is that the horn is about 22mm in length. If my gear is only 36mm in diameter, then the horn would stick out into the gear’s teeth!

Gear is too small!

Another sidetrack bump I had to overcome was the getting the dimensions of the servo horn. The dimensions I could fine online were unsatisfactory. So I measured one myself!

SG90 servo horn

And went ahead and 3D modeled it and put the 3D model and diagram files up on printables.com for anyone to use.

With all of that info, I can then recalculate the gear train dimensions so it fits with the servo horn.

The Correct Gear Train

I played around with different settings, but it seemed the best option (that being the smallest size for the servo and large combo gears) called for a 46mm servo gear → 20mm 46mm combo gear → 20mm pinion.
Servo motor → 46
              ↓
             20 (same shaft as) 46
                                ↓
                               20 (pinion)

Sidetracked Again!

The first day of modeling, I decided to jump the Fusion 360 train and try onshape.com. It’s a web based 3D modeling and CAD tool. It has been around since 2015, and is gaining ad time lately in many of the YouTube.com videos I see, so I thought I’d give it a try. I was prepared for some learning curves and to spend some time learning a new system, but two things got me to throw in the towel after a full day of working with it; 1) I couldn’t figure out how to do something pretty simple that would take 2 minutes in Fusion 360, 2) I didn’t care for the interface; it felt too unprofessional. If TinkerCad.com is the elementary school version of CAD, it looked like Onshape.com was the 9th grade version. I did love that it was browser based. And making double helical gears was a breeze! There’s a handy built in menu for all kinds of gears. Fusion 360 on the other hand is big L in gear making. You have to import 3rd-party scripts and I can’t get any of the fancy gear scripts to work.

Like many things, it was the fact that I could get things done much faster with the tool I already knew, and I was accustomed to the interface that led me back to Fusion 360.

Making the Gear Train

I had previous attempts at designing the gear train, but I decided to start from scratch since Fusion 360 doesn’t have an easy way to just change the size of gears when using the gear script plugin thing.

Servo Gear

So, first I designed the servo gear. Pretty easy to create a 46 tooth gear with the gear script plugin thing.

servo gear with inset for servo horn

I designed a cut out, or inset, for the servo horn to fit inside. This is the easiest way to attach the gear to the servo. 3D printing these gears with filament would not have enough resolution to print the fine teeth needed to interface with the tiny default gear on the servo shaft. Much easier to use the included horn.

Combo Gear

The combo gear was pretty easy, too. Just make another 46 Tooth gear, then make a 20 Tooth gear and stack them on top of each other.

combo gear

I set the diameter of the hole through the gear at 4.2mm. That’s big enough for a M4 bolt to go through, with just enough tolerance to allow the gear to spin but not wobble.

Pinion Gear

Another very simple gear to model. There’s nothing special about this, just a 20 tooth gear with a 4.2mm diameter hole.

pinion gear

Rack

The rack is pretty straight forward. I created a 20 tooth gear, then used one of those teeth to copy down the length of the rack.

pinion gear

pinion gear

Gear Holder

This was a little bit tricker. The gears were all prototyped in one go. The first print was great. This part took 7 tries so far.

seven versions of the holder so far

I started by creating a new Assembly in Fusion. Then adding in the gears and aligning them as needed. I went with a stacked approach so as to keep the footprint as small as possible. I had previously modeled the servo motor, so I was able to add that in as well.

It was tricky to get the servo aligned with the servo gear, and then get each of the gears aligned with the ones the mesh with. In realized that if a part has the sketch turned on, then that shows up in the Assembly file. I used that to create a construction line on the servo gear and put a point where the center of the combo gear should be aligned to. Then I did the same on the combo gear to align the pinion. Then adding the holder, servo motor, and rack.

assembly, color coded

It was a lot of back and forth between the designs for the parts and the assembly to align everything correctly. But in the end I think it lines up well.

Spacers

After the first version, I realized that the gears needed spacers to keep them in place. The holder is wider than the gears. So modeling and printing a couple of spacers is pretty easy.

spacer

Somewhat Working

I connected everything up, bolted in the gears, and plugged it in. And it works… mostly.

As the video shows, the gears work, somewhat. There is a bit of jittering, which may be due to the code just rotating the gears back and forth. A more normal behavior would be moving from one angle to the next and stopping there. The servo is also not moving at a full 180°. More like 100°. This is only about 111mm of travel, not the 150mm we’re hoping for. It might be time to consider better quality servos. Perhaps some that move 270°.

It is also a pain to swap the servo motor. Perhaps a redesign is in order.


Missed the first two posts?

Funding provided through a generous grant from UVA Arts Council. Alt text

Jump on the Gear Train! - Critical Making 2025-2026 - Part 2

2026年2月27日 20:32

This week I started figuring out the gear train and rack and pinion needed to move the states. I have tried in the past to get AI to do this for me, but the results from ChatGPT and Copilot are all over the place and offer varying results every time I ask. I decided to use AI to learn the math instead of trying to get it to figure it out for me. Instead, I’m learning the math behind the problem to work it out myself.

Be forewarned, there is lots of math!

math?!?

TLDR;

What helped immensely was GearGenerator.com

And a spreadsheet that AI generated to calculate the travel distance of a rack based on the pinion diameter and number of rotations.

With help from GearGenerator.com I created a gear train which starts with a 36mm gear attached to a servo motor that meshes with a 12mm gear which is on the same axle (or combined) with a 36mm gear that then meshes with a 12mm pinion.

Input Value Units / Notes
Servo Gear Diameter 36 mm
Servo Gear Rotations 0.5 rev (revolutions)
     
Combo Gear Small Diameter 12 mm
Combo Gear Small Rotations 1.5 rev
Combo Gear Large Diameter 36 mm
Combo Gear Large Rotations 1.5 rev
     
Pinion Diameter 12 mm
Pinion Rotations 4.5 rev
     
Output Formula Result
Rack Travel per Rotation 37.69911184 mm
Total Rack Travel 169.6460033 mm

But how did I get this this answer?

Well, let me take you on a journey to how I figured this out and understood the problem.

What am I trying to do?

Each state will move up and down based on the data given. Prof. Rich Ross and I want this to be a pretty dramatic difference between the lowest and highest states, so we decided on 150mm of movement. After much deliberation and looking at various options, Yashu and I decided that a rack and pinion would be the easiest way to accomplish the goal. What is a rack and pinion? It’s simply a gear that moves a bar with gear teeth. It turns a rotational movement into a linear movement. The round gear is the pinion, the bar with teeth is the rack. )

A rack and pinion, a large circular gear moving a long bar with teeth

We figured the servo can rotate the pinion and move the rack attached to the bottom of the state up and down. (See last week’s post with a video of the test case.)

First Gear

The first question we needed to answer was; How far does the rack travel based on the size of the pinion?

The formula to figure this out is

\( T = Dπ \)

T is the rack travel distance, D is the diameter of the pinion, π is yummy and 3.14159265359…

It’s basic middle school geometry. The travel distance is just the circumference of the gear.

But our servo motor only goes 180-degrees, or half a rotation, or half the circumference. So we’ll have to keep that into consideration.

\( T = {Dπ \over 2} \)

The smallest size gear we want to use is probably 12mm. I just pulled that number out of the air (but actually, we’ll use it because I already know it works within all the parameters and constraints for the project 😁 ).

A pinion gear with a diameter of 12mm will cause a rack to travel \( T = 12π = 37.699mm \) But since our servo can only do a half rotation, the rack travel length is \( T = {12π \over 2} = 18.85mm \). I want the rack to travel at least 150mm. So a 12mm gear is not going to work.

In order to get the rack to travel 150mm from a single gear, we can calculate that

\( T = {Dπ \over 2} \)

\( {2T \over π} = D \)

\( {2(150) \over π} = 95.493mm \)

We would need a 95.5mm diameter pinion!

The footprint of the smallest state is about 45mm square. So everything has to fit within that area. So the largest a gear can be is about 40mm. We’ll need a different way to do this.

One option is to use multiple gears. We can use multiple small gears to create the same effect as one large gear. How does that work?

Second Gear

Well, if we just have two gears and one is smaller than the other, then if we turn the small gear one full rotation, the bigger gear will turn less than one full rotation. If the bigger gear is twice the size of the smaller gear, then for every 2 turns of the small gear, the big gear will turn once.

The blue, smaller gear is the one moving, or driving the larger gear

small turning large

The opposite is true, too. If the big gear rotates one full revolution, the small gear revolves twice.

large gear turning a small gear

Large turning small

The ratio between the sizes of the gears is called the gear ratio. The gear ratio is derived from the diameter of the gear doing the revolving divided by the diameter of the gear connected to the moving gear. We can call these the driving gear (the one attached to a servo or some other source that generated the movement) and the driven gear. So we get the formula:

Ratio (R) = Diameter (D) of driven gear (n) / Diameter (D) of driving gear (g)

\( R = {Dn \over Dg} \)

If the ratio is greater than 1, then the output is a slower turning gear, a reduction in speed.

If the ratio is smaller than 1, then the output is a faster turning gear, an amplification of speed.

Start with a smaller wheel, the bigger wheel turns slower. Start with a bigger wheel, the smaller wheel turns faster.

We also write the ratio like this R = Dn:Dg

OK. Next, how do we figure out the gear ratios for the gear train, and how many do we need?

Let’s take two gears, one is 36mm in diameter and the other is 12mm.

If the 12mm gear is the driving gear (it is connected to the servo), then the ratio is \( R = {36 \over 12} = {3 \over 1} \) or 3:1. The ratio is greater than 1, so the output is a slower turning gear.

One way to look at it is to read the ratio from left to right. A bigger number is faster than a smaller number. R = 3:1. 3 to 1. This is a decrease. From speed 3 to speed 1. Slower.

But if the driving gear is 36mm, then the ratio is \( R = {12 \over 36} = {1 \over 3} \) or 1:3, the output is a faster turning gear.

Read from left to right. 1 to 3, is an increase. From speed 1 to speed 3. Faster.

If we stick with a 12mm pinion, how many times does it need to revolve in order move a rack 150mm?

The circumference of a 12mm pinion is

\( C = Dπ \)

\( C = 12π = 37.699mm \)

so

\( {150mm \over 37.699mm} = 3.9789 \) revolutions

A 12mm pinion needs to rotate about 4 times in order to move a rack 150mm.

So if we have a second gear turning the 12mm pinion, how big does it need to be. Recall that the servo gear will only be able to rotate half of a rotation. The gear ratio, then, needs to be 0.5:4. Half a rotation to 4.

\( {12 \over x} = {0.5 \over 4} \)

Doing some cross multiply,

\( 12(4) = 0.5x \)

\( {48 \over 0.5} = x \)

and we get that x = 96. Whelp. Back to a 96mm gear. This is because the servo gear only rotates halfway.

Third Gear

So, I ask myself, “Self, if you know the pinion size and how many rotations it needs to complete, how do you calculate the other gears in the train if you don’t know exactly what sizes and how many are needed?”

I replied, “You know, that’s something that I don’t know.”

Well, I asked Copilot, too. (Copilot took into account previous conversations where I told it the gear ratio was 0.5:4 and an earlier example using 36mm and 12mm gears. And it uses gear Teeth instead of Diameter, but these are the same thing.):

Copilot said:

Great question —- this is the heart of gear‑train design. When you know:

  • the pinion diameter (or teeth)
  • the pinion rotations required

…but you don’t yet know:

  • how many gears
  • what sizes
  • or which ratios

…you can still design the entire gear train systematically using a step‑by‑step math process. Below is the cleanest and most universal method mechanical engineers use.

✅ Step 1 — Convert rack travel to pinion rotations (if needed)

If you already know the pinion must turn N rotations, skip this. If you only know the travel distance:

\( Pinion Rotations = {Rack Travel \over πD} \)

✅ Step 2 — Determine the required gear‑train ratio

This is the most important step. You need to know:

  • How many rotations the motor (input) produces

vs.

  • How many rotations the pinion (output) must make

\( R_{total} = { \text{Pinion RPM or Rotations} \over \text{Motor RPM or Rotations}} \)

Example:

  • Servo rotates 0.5 turns
  • Pinion must rotate 4.5 turns

\( R_{total} = {4.5 \over 0.5} = 9 \)

So the gear train must create a 9× speed increase (or 1:9 reduction, depending on convention).

✅ Step 3 — Factor the total ratio into small ratios

Gear trains are built by splitting a large ratio into smaller multiply‑able pieces. For example, if your target is:

\( R_{total} = 9 \)

Then possible factorizations are:

  • 3 × 3
  • 1.5 × 6
  • 1.5 × 1.5 × 4
  • 2 × 4.5
  • 1.2 × 1.25 × 3 × 2
  • (36→12) × (36→12) ← your earlier example

You can pick any combination of small ratios that multiplies to your total.

✅ Step 4 — Assign tooth counts to each ratio

Each stage ratio is:

\( R = {T_{driven} \over T_{driver}} \)

For example, suppose you choose two stages:

\( R_{1} = 3 \), \( R_{2} = 3 \)

You now choose tooth counts that satisfy each:

Stage 1: ratio = 3

Examples:

  • 12 driving 36
  • 10 driving 30
  • 16 driving 48

Stage 2: ratio = 3

Same options.

A compound gear (two gears on one shaft) lets you chain them:

(motor) 36
        | (ratio of 3)
        ↓
       [12 same shaft as 36]
                          | (ratio of 3)
                          ↓
                (pinion) 12

Ratios multiply:

\( 3×3=9 \)

✅ Step 5 — Check physical constraints

When selecting gear sizes, check:

  • Gear diameters fit in available space
  • Teeth counts match a common module or DP
  • Shaft spacing is feasible
  • 3D printing tolerances allow proper meshing
  • Required torque is acceptable
  • Compound gears are not too small or too fragile

If something doesn’t fit, adjust tooth counts but keep ratio the same.

✅ Step 6 — Iterate until a valid mechanical layout exists

This is normal: you will often try 3–6 combinations until the gear spacing, shafts, and reductions all work.

🧮 A Worked Example (General Method)

Suppose:

  • You want 5 pinion rotations
  • Input shaft makes 1 rotation
  • Total ratio required:

\( R_{total} = 5 \)

Factor it:

  • 5 = 5
  • 5 = 2.5 × 2
  • 5 = 1.25 × 4
  • 5 = 1.666 × 3

Pick: 2.5 × 2

Assign tooth counts:

  • Stage 1: 12 → 30 (ratio = \(30 \over 12 \) = 30:12 = 2.5)
  • Stage 2: 15 → 30 (ratio = \(30 \over 15 \) = 30:15 = 2.0)

Total:

\( 2.5 × 2 = 5 \)

Build it as a compound:

(input shaft) 30T
              ↓
              12T -- same shaft -- 15T
                                    ↓
                          (pinion) 30T

Pinion rotates 5× per 1 input rotation.

🎯 The Key Insight

You don’t need to know the gear sizes up front. You only need to know the total ratio, and then you can:

  1. Factor the ratio into small ratios
  2. Assign teeth counts that match each small ratio
  3. Assemble them into a compound gear train
  4. Adjust until it fits mechanically

This process is how all engineered gearboxes are designed.

Fourth Gear

OK. That’s cool. Now to ask Copilot to figure it all out for me.

“Copilot, walk me through each step of how to calculate a gear train to drive a pinion 4 rotation with a servo motor generating 0.5 rotations and the largest a gear can be is 40mm, and using the smallest number of gears possible, and the gears should be easily 3D printed.”

Copilot said:

Reasoning completed in 3 steps

Absolutely-—let’s design a compact gear train that makes a pinion turn 4 rotations when your servo only turns 0.5 rotations, with the constraint that no gear may exceed 40 mm diameter, using the fewest gears possible and keeping everything easy to 3D print.

🎯 What we need (in plain math)

  • Input (servo): 0.5 rotations
  • Output (pinion): 4 rotations
  • Required speed increase:

\( S_{total} = {\text{pinion rotations} \over \text{servo rotations} = {4 \over 0.5} = 8 \)

So the gear train must provide an 8× speed increase (equivalently, a 1:8 reduction in the “driven/driver” convention).

  • Constraint: largest gear ≤ 40 mm diameter.
  • Goal: Fewest gears (i.e., 2 stages / 4 gears total with one compound shaft).

✅ We’ll target a two‑stage compound gear train (4 gears total). If we can’t meet printability constraints, I’ll give a 3‑stage fallback.

🔧 Design conventions (for easy 3D printing)

  • Use equal gear module (e.g., module m = 1 mm/tooth) so:

\( \text{Pitch diameter (mm)} ≈ m × \text{tooth count} \)

With m=1, a 40‑tooth gear ≈ 40 mm diameter—- perfect for your 40 mm limit.

  • Common printable tooth counts (no special profile shift): 12, 15, 16, 18, 20, 24, 30, 36, 40.
  • Pressure angle: 20° (typical for printable involute gears).
  • Try to avoid very small tooth counts (<12) to reduce undercut and fragility.

🧮 Step‑by‑step method

Step 1 — Decompose the total ratio into stage ratios

We need:

\( S_{total} = S_{1} × S_{2} = 8 \)

We’ll look for two reasonable stage increases (each <4×) that multiply to 8.

A convenient split is 3.333… × 2.4 ≈ 8.

Step 2 — Map stage ratios to tooth (or diameter) ratios

Speed increase for a stage (driver → driven) is:

\( S = {D_{driver} \over D_{driven}} = {T_{driver} \over T_{driven}} \)

(Assuming same module.)

So we want (example picks):

  • Stage 1 \( S_{1} ≈ 3.333 \): 40T → 12T (\( 40 \over 12 \) = 3.333…)
  • Stage 2 \( S_{2} = 2.4 \): 36T → 15T (\( 36 \over 15 \) = 2.4)

Total:

\( S_{total} = {40 \over 12} × {36 \over 15} = {10 \over 3} × {12 \over 5} = {120 \over 15} = 8 \)

Bingo.

Step 3 — Lay out the gear train (compound shaft)

[(A)40T Servo]  
    |
  meshes                        Stage 1 (40→12)                      
    ↓ 
[(B)12T same shaft as (C)36T]  
                        |
                      meshes    Stage 2 (36→15)
                        ↓
                 [(D)15T Pinion]
  • (A) is connected to the servo motor.
  • (B) and (C) are rigidly fixed on the same shaft (compound).
  • The pinion is gear (D) = 15T in this design.

Step 4 — Verify motion requirement

Servo turns 0.5 rev → pinion turns:

\( 0.5 × 8 = 4\text{rev} \)

Meets the spec. ✅

Step 5 — Verify size constraints (≤40 mm)

With m = 1 mm/tooth:

  • 40T → ~40 mm
  • 36T → ~36 mm
  • 15T → ~15 mm
  • 12T → ~12 mm

All ≤ 40 mm. ✅

Step 6 — Check printability & robustness

  • Smallest gear is 12T—printable in PLA/PETG with 20° PA; 15T pinion is sturdier and meshes well.
  • Keep face width ~6–10 mm for strength (depends on load).
  • Add 0.1–0.2 mm backlash target (or scale tooth thickness down ~1–2%) to compensate for printer tolerances.
  • Use fillets at hub/arm junctions; ensure set‑screw hub or D‑shaft interface.

✅ Minimal‑gear solution (recommended)

Two stages / four gears (one compound shaft):

  • Stage 1: 40T → 12T (3.333× speed increase)
  • Stage 2: 36T → 15T (2.4× speed increase)
  • Total: 3.333 × 2.4 =
  • Result: Servo 0.5 rev → Pinion 4 rev

This uses just 4 gears and fits the 40 mm cap.

Nice! If we have a 15mm pinion rotating 4 times, that moves the rack

\( T = π × D × 4 \)

\( T = π × 15 × 4 = 188.5mm \)

I plugged these calculations into a spreadsheet (rack_travel_calculator.xlsx) to help me play around with the gear sizes. I wanted something smaller than 40mm.

It looks like 36mm (servo) —> 12mm|36mm —> 12mm (pinion) has smaller gears and gives good enough range.

That’s a 3 × 3 = 9 total ratio. Better than the 8 needed.

12mm pinion rotating 4 times moves a rack

\( T = π × D × 4 \)

\( T = π × 12 × 4 = 150.796mm \)

That’s just perfect, but in a gear train, the pinion actually rotates 4.5 times, so the rack will move 169.646mm. Even more perfect!

gif of gear train at this ratio

Gear train

OK. Now with the math and numbers all figured out, and the some additional tips from Copilot about layout, it’s time to start modeling a gear train!

🧰 Practical layout tips

  • Center distance between meshing gears:

\( c = {m \over 2}(T_{1} + T_{2} ) \)

With m=1, 40T–12T center distance = (1/2)(52) = 26 mm;

36T–15T center distance = (1/2)(51) = 25.5 mm.

  • Maintain parallel shafts and allow axial shimming (washers) to tune backlash.
  • If you’re driving a rack, ensure the final gear module matches the rack’s module (e.g., both m=1).
  • For SG90 servos, print large driver gears with a robust hub and insert brass heat‑set inserts for screws if possible.

Phew! That was a lot! Next week, 3D model the gear train!

Funding provided through a generous grant from UVA Arts Council. Alt text

Read Part 1 - The Beginning

Critical Making Fellowship 2025-2026: Part 1

2026年2月20日 20:54

Introduction

Beginning in 2023, the Makerspace has funded a graduate student, usually in the humanities, to design and complete a physical project that represents or comes from their humanities research. Named the Critical Making Fellowship, the previous projects were Alexa Luborsky’s “Diaspora Poem” (2023), and Holly Zhou’s “Memory Maps” (2024 & 2025). This years Fellowship began as a collaboration with Statistics Professor Rich Ross and Makerspace Manager Ammon Shepherd. Generously funded by an UVA Arts Council Grant, the 2026 project was able to hire Yashu Tang for the Fall 2025 semester to get the process started. Below is the write up of the project and contributions from Yashu.

Project Overview

This project aims to visualize electoral voting patterns in previous presidential elections using an interactive data-sculpture. Each state is represented with a cluster of hexagonal cells equal to the number of electoral votes allocated to the state.

"2012 US Electoral map"

The state-block will have two actions in response to input data:

  1. light up blue or red depending on the party of the winning candidate and
  2. raise or lower itself proportional to the margin of victory.

The data on state-level electoral votes is from UCSB’s American Presidential Project website.

Data

The data has already been scraped from UCSB’s website and contains data on the 1924-2024 elections. They are stored in the election data folder on the shared drive, with a separate .csv file for each election year. Files are named with the convention Election_####, e.g. Election_1968. Years with atypical electoral votes have been noted in the data description document, which can also be found in the election data folder.

The data columns are as follows:

State: State where the data was collected

Total: total votes tallied for the state

Popular_D: Number of popular votes won by the Democratic candidate

Prop_D: Proportion of total votes received by the Democratic candidate

EV_D: Number of electoral votes won by the Democratic candidate

Popular_R: Number of popular votes won by the Republican candidate

Prop_R: Proportion of total votes received by the Republican candidate

EV_R: Number of electoral votes won by the Republican candidate

  • If a 3rd party candidate won electoral votes, the votes will be recorded with similar conventions as above, with “_3rd” as the suffix.

EV_Outcome: Column with electoral vote outcomes. Data is stored with integer values of electoral votes, followed by the party they were cast for, separated by spaces. E.g. 3 D 0 R 0 I, where 3 votes were cast for the Democratic candidate, and 0 for the Republican and Independent/3rd party candidate.

Margin: Margin of victory, calculated using

MOV = (Raw margin of victory) / (Total votes in state)

where the raw margin of victory is the difference in popular votes between the first and second place candidates in the state.

Hardware

The state-blocks will be 3D printed by Ammon at the Makerspace and mounted on a similar 3D printed rack-and-pinion mechanism to achieve the raising and lowering.

The vertical movement will be powered by 180-degree rotation Servo motors. They were chosen because their degree of rotation can be specified in code. This allows for an easy transition from the MOV value in the data into Servo motor directions. The Servo motors will be connected to the Adafruit 16-channel PWM bonnet, and a brief tutorial on connecting and using the bonnet can be found here. For this project, the bonnets will use the 3x4 right angle male headers, so the Servo motors can all interface to the pi.

The light-up portion of the project will be completed with the 5050Neopixels, whose product specifications can be found here. A pdf of the specs will also be in the shared drive. The pin configuration can be found on page 5 of the pdf. When connecting the Neopixel to the bonnets, the signal pin should connect to pin 2 (DIN), the power pin should connect to pin 3 (VDD), and the ground should connect to pin 1 (GND).

  • It should be possible to chain multiple Neopixels by chaining pin 4 (DOUT) to pin 2 (DIN) on another Neopixel, but I haven’t had a chance to test it.

Software

There is some Python code for powering the Servos simultaneously. This is on the Raspberry Pi and should be stored in the “Code” folder. The packages used for powering the Servos and Neopixels must be used in a virtual environment. On Thonny, you can go to “Run”, then “Select interpreter”, then choose the venv that is in the “Code” folder. Not much has been done for the software portion of this project.

February 2026 update

Further consideration about the project led us to expand the vision of the project. Instead of being tied to electoral data, the map will be able to use any two data points to compare states. The LEDs will not be exclusively red or blue, but RGB LEDs will be used to allow a range of colors.

As of February 2026, the hardware side of things has improved a bit. California was chosen for the test case as it is the largest with the most electoral votes. This would test the capability of the inexpensive 180 servo motors to move the 3D printed states.

Originally, it was hoped to use the output of data from the R statistical program to generate the 3D models for printing. The resulting hexagons from this workflow were inconsistent.

Map showing inconsistent hexagon and height

An additional issue, was that the generated file created a map with states at varying heights. We are going to account for this in the hardware by moving the states up and down, so they all need to be the same height.

Modeling each state by hand in Fusion 360 is the solution.

Model of California

Fusion 360 was also used to model the servo holder and a rack and pinion gear set to move the state vertically.

Model of the rack and pinion gear

To test the set up, two pieces of plywood were cut to house the gears and the state. Temporary supports were 3D printed to hold the two pieces of plywood together.

A test case using California can be seen in the video below.

Funding provided through a generous grant from UVA Arts Council. Alt text

Read Part 2 - Jump on the Gear Train

Light Up Your Heart

2026年2月13日 21:30

A great Valentine project to brighten the day for your special someone.

Materials Needed

Step 1 Cut Out Cardboard Shape

Cut a heart shape out of cardboard. You can do any shape you want, though.

Cardboard heart

Step 2 Apply Copper tape

Make a “track” of copper tape around one side of the heart. The rails of the track should not touch. One is for the negative, the other for the positive part of the circuit. Leave a piece unstuck. This will be used for the “button”.

Cardboard heart

Step 3 Poke holes for LEDs

Poke holes in the heart for the LEDs. You can do as many or as few as you want. This one is labeled with - and + to make sure the LEDs are placed correctly.

Cardboard heart

Step 4 Insert LEDs

Push the LED legs through the holes. The short leg is negative ( - ) and the long leg is positive ( + ).

Cardboard heart Cardboard heart

Step 5 Secure LEDs to Copper Tape

Bend the legs of the LEDs so that the negative leg lays flat on the negative rail and the positive leg lays flat on the positive rail. Tape them down so the stay in contact with the rails.

Cardboard heart

Step 6 Make Battery Holder and “Button”

Use cardboard or cardstock to make a ring the size of the battery. The ring should be at least three times as tall as the battery.

Cardboard heart

Fold a piece of cardboard or cardstock to fit like a bridge over the battery ring. The positive ( + ) side of the copper tape will attach to the underside of the bridge to act as a button.

Cardboard heart

Step 7 Secure Battery and Button to Heart

Use Masking tape to secure the battery ring and bridge (button) to the back of the heart. The button should rest on the negative ( - ) rail of copper tape. The positive ( + ) rail of tape should be attached to the bottom of the bridge.

Cardboard heart

Test the LEDs by pressing the button. They should all light up. If not, check to make sure all of the LED legs are touching the correct rail and are firmly taped down.

Step 8 Wind with Yarn

Finally, wide yarn around the heart until all of the cardboard is hidden. Secure the yarn on the back by tying a knot.

Cardboard heart

Press the button on the back to make the LEDs light up!

Cardboard heart

3D Printed Cityscape

2026年1月8日 13:00

A screenshot of a map

This is a guest post by Makerspace user, Yifan Liu. During the 2025 Fall semester he developed and created a number of amazing cityscapes.

3D Print Tutorial: Cityscapes

By: Yifan Liu (yl3gm), UVA Graduate Medical Student

Creating a 3d Model

  1. Open the online software Map2Model. You will be presented with the following interface. A screenshot of a map
  2. Enter which city or area you would like to model search bar. Then select an area of the map to be modeled.
    A screenshot of a map
  3. Adjusting settings: There are many customizable settings that can be adjusted in the right-hand menus. Below are a few example settings that I commonly choose.
    • Base:
      • Map size: 152mm
      • Base layer: 4mm
      • Topography: Disable if modeling a relatively flat area to reduce complexity
      • Frame: Off
    • Features:
      • Roads
    • Include footpaths: Enable if you want to include detail of hiking trails or parks for example. Disable if you want to reduce file size and processing time
    • Road Types: Play around with disabling different road types for effect or reducing complexity - Grass: Off - Buildings:
    • Buildings Scale: 1.2x – 1.5x - Sand: Off - Piers: Off
  4. Press “Generate Mesh” to generate a 3d model of your selection A screenshot of a map
  5. Click the dropdown menu next to “Export 3MF”. Click “Export STL”
    • Note: you can also export as 3MF to retain features like roads, water, and buildings as separate objects.

Editing and Refining (optional)

You may notice that some structures in the model are not correctly detailed or rendered. If you want to add more detail, import your model into a 3d modelling software. For this example, I used Blender. More detailed instructions on how to use Blender can be found online.

  1. Download or create 3d models of desired buildings. Adjust to correct scale and position and place over existing building on model.
    A screenshot of a map
  2. Delete undesired geometry or vertices on cityscape.
  3. Export file as an STL for slicing and printing.

Slicing

  1. Open STL file in PrusaSlicer
  2. Adjust settings by going to “Print Settings”:
    • Print settings: 0.20mm Structural
    • Brim: 4mm
    • Infill: 10%
  3. Multimaterial Printing: (optional)
    • Click on the STL object and click on Multimaterial printing on the left-hand menu icons
    • Use the Smart fill tool to paint the desired colors. I prefer to paint water features blue and all other features white.

A screenshot of a map

Printing

  1. After slicing export your file to the desired printer. If using Multimaterial printing, use either Kermit (Prusa MK4 MMU3) or Big Bird (Prusa XL).
  2. Load and select desired filaments on printer. Make sure to check that the correct filament is paired with the correct extruder.
  3. Print and wait!

A screenshot of a map

Multilingual digital book arts (& an example accepted conference proposal!)

2025年12月3日 13:00

I’ve a talk accepted to the 2026 Global DH conference, and share that proposal here both for its content and as another example of what a conference abstract can look like. I’ve added comments (in ‘'’code formatting’’’) highlighting how the abstract proposal is structured.

“Not having to ask: critical humanities making, zines, & analog tech for multilingual DH”

In “Having to Ask”, a doctoral colleague [2024-2025 Praxis Fellow Amna Irfan Tarar] writes about othering experiences in DH spaces, such as when staff weren’t sure if a web font used by a team project could correctly render her name in Urdu. I’m developing digital and analog letterpress resources as part of our DH center’s critical humanities makerspace studies. Letterpress moveable type is a pre-digital corollary to multilingual web fonts, and Tarar’s essay reinforced my priority of anyone printing with us being able to print their name—without singling out that name as needing special effort or research.

Motivation / underlying research question.

This lightning talk covers the DH work I’ve started toward this goal, and will be of interest to scholars curious about: zine creation for teaching, critical humanities making, multilingual DH, accessibility, book arts, and connections between historical/retro tech and current DH methods. I’ll share my first set of moveable non-English type, my forthcoming zine on how to inexpensively create similar type, and an overview of my research into historical and current strategies for fabricating non-Latin type (some of which cannot be segmented into easily interoperable rectangles the way Latin type can). I know there are too many languages for us to complete this goal; while slowly moving toward that vision language by language, I’m also developing some quick hacks to at least slightly improve type accessibility in the mean time, as well as working to replicate how such scripts were historically printed.

Specifics on what the talk will cover. Which scholars might want to attend it and why, including showing how that's not limited to e.g. "people who do letterpress" or "makerspace people". Quick note that I understand the most immediate likely challenges to this work.

I’ve wanted to contribute to a more multilingual DH, despite my monolingual ability restricting what I can do. My hope is to develop enough type design and fabrication competency to partner with colleagues who have greater language competency than me, and I’m eager to hear advice from session attendees toward this goal.

Where is this in-progress research headed, and how might that benefit others? What kind of Q&A might this talk elicit from its audience?

On the edge: printing zine margins

2025年5月2日 12:00

Q. Do you know of zine templates that let you import your zine content and then print it properly?

A. I’ve run into this a lot, partly bc some printers have various hidden amounts of white space they’ll require to allow for where they grip the paper, even if you set printer settings to zero margins. Very frustrating, especially for printing minizines, where this can through off what’s visible per page when you fold the pages.

A few printers have true borderless printing, but I haven’t happened to run into one at home/work yet. Sometimes I use a paper cutter or scissors to remove that unprinted edge after printing, to make the zine look printed all the way to the edge when it doesn’t have a white background.

Researching what those secret extra whitespace settings are for my particular printer brand and model has helped, as well as printing a test template with text running off all the zine page edges. This lets me then measure on the printout what of the text gets cut off, then design so my text/images don’t go there. In Canva, I’ve drawn those measured cutoff points as colored boxes, then duplicate that page to fill it with zine content and remove the boxes once I’m ready to print, like so:

Screenshot of a Canva page where I've marked with green, yellow, and red rectangles where the various margins are on a page (margin, bleed, actual printer cutoff where it won't print beyond) if I mke a zine on it and print it with my particular printer.

Canva (free plan) lets you set margin and bleed guides (file > settings) that helps with designing for printing correctly. While these don’t override that secret won’t-print-there grip area of paper many printers have, ustom print margin settings can sometimes help too:

Screenshot of where to go in Adobe Acrobat to set custom printing margin settings: "page setup" button, then "paper size" to "Manage custom sizes..."

Screenshot of where to go in Adobe Acrobat to set custom printing margin settings: + icon, then set "Margins" as "User Defined" and enter 0 in. under the fields for each of the 4 sides of the paper

I’ve tried various zine arranger (plus additional cool features!) tools, such as:

These all do useful things, but ultimately can’t address different printers adding that secret extra space—so the hacks above have worked best for me.

From text originally posted by me via the Scholars’ Lab Bluesky account in response to a question there.

Scholars’ Lab Data Art Call For Proposals

2025年4月23日 12:00

(Note that the deadline has been extended to Friday, May 23rd, with notification date also moved later.)

The Scholars’ Lab, part of the Digital Humanities Center in the University of Virginia Library, is accepting proposals for creative works that tell evocative, artistic, and thought-provoking stories with data for display in our community space (Shannon Library, Room 308).

We use “data art” rather than “data visualization” to emphasize we seek physical, compelling, data-inspired or data-enriched compositions that inspire or educate visitors. These can be, but do not need to be large-scale research projects. They should be based on some kind of specific data, but we define data broadly to include analog, ephemeral “data” such as photo albums, archives, and personal records, as well as digital datasets. Projects should take a material form—that visitors to our space can examine and/or interact with. They can be graphical (2D) or multidimensional exhibits, and can also incorporate sound or other analog or digital media.

Questions or need help IDing data? If you have a clear idea for exploring a specific topic with a specific artistic outcome, but need help identifying a dataset to use, we might be able to suggest possibilities. Please email Laura Miller at least a week before the application is due to set up a data consultation, or to answer any other questions you may have.

Eligibility:

  • Applicants must be at least 18 years old, can work independently or in collaborative groups, and do not need to be affiliated with UVA. There is no travel or residential funding associated with this award, but virtual participation and presentation is required if you are not local.

Prize:

The inaugural 2025-26 award will be $1,000: of that amount, up to $300 is available as soon as the project is accepted for the purchase of materials needed for the fabrication of the exhibit, with the remainder provided to the creator (if UVA student or non-UVA affiliate) or their department (if UVA faculty or staff) after the finished project is delivered to the Lab, and the public event is complete.

  • The selected work(s) will be on loan to the Library and will be displayed for the academic year (August-May). The work will be returned to the artist at the conclusion of the term.
  • The Library will provide assistance transporting, installing, and labeling the piece.
  • The Scholars’ Lab will host an opening reception, with a brief talk, and will aid in programming around the piece in conjunction with the artist. Local creator events will take place in person; travel funds are not available, so non-local creators will speak virtually.

Space considerations:

The Scholars’ Lab Common Room (Shannon 308) space has:

  • one area with available two-dimensional installation space up to up to 56” w by 88” h or a three-dimensional installation space up to 56” w by 48” d by 120” h.
  • a second area with a two-dimensional installation space of up to 84” w by 88” h or a three-dimensional installation space up to 48” w by 48” d by 120” h.
  • a third area with a three-dimensional space of up to 72” w by 72”d by 120” h. Ideally the installation would use one of these three locations, but if your project design utilizes multiple spaces, please indicate this in your proposal. Note: all completed projects must either be assembled on site or pass through our main entrance, measuring 72” w by 88” h.

Proposal Requirements:

  • Project title
  • Brief bio of the artist(s) focused on what prepares you for this work. Please include any previous experience with the method (e.g. quilting, sculpting, weaving, felting, electronics, etc.) used to complete your project.
  • Either an artistic plan for the work; or if it already exists, link to a website hosting the entry; or, if a physical object, videos or photographs of the completed piece
    • Description of the work, including material, finished size, technical specifications (if digital), and installation requirements
  • Project explanation, detailing the data source(s), key decisions in visualizing the data, and the primary narrative or argument conveyed (one-page or less)

Timeline:

  • CFP announced April 23, 2025
  • Submission Deadline: Submissions should be sent to Laura Miller by end of day, Friday, May 23. The artist(s) will be notified by Friday, May 30.
  • Project Deadline: The selected piece must be completed and ready to be installed by August 28, 2025.

Global Digital Humanities Conference: Zine Bakery: borderless DH research, methods training, and scholarly communication via zines

2025年4月7日 12:00

I presented about the Zine Bakery today at the Global Digital Humanities conference last week. Below are some links that had to fly by on my screen, so folks have more time to peruse them.

I’m on Bluesky at LiteratureGeek.bsky.social if you want to chat there!

Key parts of Zine Bakery

Where to find zines:

Citations & further reading

Fox, Violet B. et al. “The zine librarians code of ethics” web resource, zine. November 2015. zinelibraries.info/code-of-ethics-1115-web-version.

Freedman, Jenna, et al. Zine Union Catalogue web resource. zinecat.org.

Nemergut, Nicole Acosta. Teaching with Zines zine. 2018. github.com/zinecat/zinecat.org/blob/master/Documents/Teaching%20with%20Zines%20-%20Acosta.pdf.

Sahagian, Jacqui. “Zine-making as Critical DH Pedagogy”. Scholars’ Lab blog post, January 14, 2022. scholarslab.org/blog/workshop-zine-translation.

Stevens, Amanda, et al. Zine Subject Thesaurus web resource. anchorarchive.org/subject-thesaurus.

Visconti, Amanda Wyatt. “Book Adjacent: Database & Makerspace Prototypes Repairing Book-Centric Citation Bias in DH Working Libraries”. DH+Lib special issue, Spring 2024. dhandlib.org/?p=154321.

—. Zine Bakery. ZineBakery.com. Project’s research blogging includes:

—; Quinn Dombrowski; Claudia Berger. “#DHmakes: Baking Craft into DH Discourse”. Korean Journal of Digital Humanities, 1(1), 73-108, 2024. accesson.kr/kjdh/v.1/1/73/43507.

Walters, Jess. “Zines” (Walters’ zines & work, including zines for disability jistice community, learning, advocacy). jesswaltersart.com/zines

Pixels, paper, politics: a digital humanist booklab with an intersectional transfeminist frame

2025年3月25日 12:00

The following is an accepted proposal I submitted to the international Feminist Media Histories journal special issue on “Craftwork within the Digital”, guest-edited by Christina Corfield and Whitney Trettien. In addition to giving a preview of my piece, I thought this might be helpful to folks looking to propose journal articles for the first time.

I propose creating a one-page website consisting of a written scholarly artist statement and 3 digital, printable zines.

The written introduction will consist of 2-4 pages of text exploring the intersections of craft/method-expansive makerspaces and the digital humanities (DH) for feminist practice, including through recounting my zine and #DHmakes community work. I’ll particularly focus on the affordances of one book arts methods and especially letterpress printing craft, offering a list of intersectional, transfeminist values including justice, care, and abundance and how this method offers opportunities to practice these values. I’ll also provide a short, hyperlinked bibliography of free online scholarly readings related to these topics.

Finally, I’ll present a model of one feminist + digital craft case through an overview of how I’m developing my DH-center-based booklab based on intersectional, transfeminist values, to fill local gaps in book arts accessibility, including through:

  • Low-barrier, friendly, safe/hard-to-break printing experimentation available for no cost
  • Building support for inclusive and multilingual printing, especially for non-Latin scripts, Braille, and other typefaces uncommon or difficult to procure in the U.S., with one goal being all lab visitors always have the type available to correctly print their names
  • Experimental & digital humanities explorations, applying our makerspace and prototyping expertise to develop custom, cheaper, and/or otherwise unavailable typefaces and printing apparatus (e.g. to address the dearth of multilingual options), and explore other connections between hands-on book arts practice and our DH skillset
  • Maintaining a free, public zine rack stocking social justice-related titles
  • Growing a collection of historical LGBTQIA+ letterpress blocks, and publishing these in an online gallery; lasercutting wood to create new LGBTQIA+ letterpress blocks to expand what’s available, and sharing the design files and instructions so others may replicate these

The 3 zines associated with this piece will be readable online, as well as by printing and folding. Each will use a feminist-tech tutorial approach (à la Julia Evans) to make introductory letterpress practice more accessible in both a tacit knowledge and a monetary expense sense, covering three topics:

  1. finding your first press
  2. finding your first letterpress type
  3. doing your first typesetting and printing
    I plan these zines to be similar in depth of content to my recent co-authored “DIY Web Archiving” zine, and the zines’ design/polish level to be similar to my co-authored “Speedweve for Mending” zine. I have existing experience with the required methods (web design and zinemaking) for this proposal, and do not need support in achieving them. I have a draft outline and notes toward writing all three zines completed already, so the remaining work is doable during this CFP’s timeframe.

Bio:
Dr. Amanda Wyatt Visconti (they/them) is Director of the Scholars’ Lab, an internationally recognized digital humanities research center; and both a researcher and practitioner of book arts and making (e.g. letterpress, zines, resin, data embodiment). An active contributor to the #DHmakes community, in just the last year they’ve organized a 7-session public zoom series teaching craft methods to digital humanists (#DHMakes Methodz Talks), written and published two zines on craft methods (mending with Sam Blickhan; lasercutting) in addition to four other zines, and published two peer-reviewed journal articles on scholarly making (book-adjacent, data-powered making; #DHmakes community history, with Quinn Dombrowski and Claudia Berger). Their scholarship includes intersectional, transfeminist bibliography and digital humanities research coding, and they hold a Literature Ph.D. and Information M.S. both focused on digital humanities human-computer interaction.

Laser Cut & 3D Printed Keychain

2025年3月18日 18:57

This tutorial will guide you through the steps to make a keychain or charm that is both laser cut and 3D printed.

Design the keychain

This works best with designs that are mirror images across at least one axis. Names are possible, but much harder.

Sketch the outline of the keychain and the ring hole.

30mm x 70mm is a little bigger than a standard house key. If making a rectangle, round the edges at 6mm.

Add a circle for a hole 4-5mm in diameter, and 5mm from the center of the circle to the edge.

Import an SVG file for the design or sketch the design.

Line up and resize the SVG image to your liking.

Once you have the design set, add a rectangle around the design that will be cut out. This will serve as the bottom of the 3D printed part, and the section that will be engraved by the laser cutter.

Just to make things clean, create a new sketch and project the current lines onto this sketch. These will be the engrave and cut lines used in Illustrator.

Save this laser cutting sketch of the keychain as a DXF file.

Making the 3D printed part

Next, create a new sketch for the 3D printed part.

Project the lines of the design that will be 3D printed onto this sketch. Then select the lines and offset them inside by .5mm.

Extrude the inset design 3mm.

Then extrude from the shape surrounding the design as a new body by .5mm. Remember to extrude it as a new/separate body.

It’s important to have each part of the design a separate body from the bottom plate, so that it is easier to 3D print them in different colors.

Export all of the bodies to be 3D printed. Go to File->3D print. Select the main Bodies folder, which will include all of the bodies in the export. Then click OK.

3D Printing

Slice the object for 3D printing

Select the colors you want for the print. There can be up to 5 different colors. Then select each part to have the correct color.

3D print the insert object on Big Bird, https://cal.lib.virginia.edu/seat/176961 or Kermit, https://cal.lib.virginia.edu/seat/176954.

Laser Cut

Prepare for Laser cutting in Illustrator

Open the DXF file in Adobe Illustrator in a new file that is sized to the laser cutter, 32”x18”.

File→Place then select the DXF file.

If you open the file directly in Illustrator, make sure to scale the artwork appropriately. If you used metric measurements in Fusion 360, then change the Scale units to 1 millimeters.

Highlight all of the lines, and then unselect the shape surrounding the design.

Change the color of the stroke to red, #FF0000, and 0.001 inch stroke width. All of these very thin red lines will be cut.

Then select the shape around the design. Turn the stroke off and change the fill to black, #000000.

Print the file and make sure the VLS6.60/75 is selected. It should be by default.

Hit the print button again.

Laser Cutter Software

Open the laser cutter software by clicking on the icon in the app tray:

You should see the image from Illustrator in the Viewer screen. The red lines will be cut out. The black shapes will be engraved. The engraving will burn out just enough material for the 3D printed part to fit right in.

Set the Material

The very first thing to do is set the material used and the width of the material. Click the Settings button.

In the Materials Database dialogue box, select the correct material (use Birch if you are using the thin birch plywood). Measure the thickness of the material and enter that into the Material Thickness section. Make sure to enter the numbers, then hit Tab on the keyboard, then click the Apply button. If you do not do it in this order, the thickness will not be saved.

After making changes, always make sure the Apply button is grayed out. Then click OK.

Now you can turn on the laser cutter, which will turn on the exhaust system. You must wait until the exhaust system is fully running before starting the print/cut job. Click the power button to turn on the laser cutter.

When the exhaust is fully on, and the laser cutter is ready to cut, the play button will turn green.

You can check that your material is placed correctly by lifting the lid on the laser cutter, pressing the focus view icon and clicking next to your keychain shape in the Viewer.

The carriage will move to that point and if the lid is open, it will shine a laser pointer light on your part. Check multiple places to make sure the material is sufficient for the part to be cut out.

Once everything is in place, click the big green play button.

Remember to stay by the laser cutter the entire time that your piece is being cut.

Result

And voila, you have some laser cut and 3D printed keychains. You can also make them with words. Just make sure to decide if the legible side is the 3D printed side or the other side.

Lasercutter Letterpress: reusable designs for letterpress printing blocks, stickers, & more

2025年3月2日 13:00

I’ve been experimenting with lasercutting type-high wood to make letterpress blocks for letterpress printing (read more & pretty pictures here). Since someone asked on Bluesky, I’m now sharing some of the recent files I’ve lasercut, which are free to use with a CC-BY-NC license, which means you need to credit me when sharing them (Amanda Wyatt Visconti / AmandaVisconti.com) and cannot sell them nor include them in a sold thing.

You can use these for stickers or other purposes; to lasercut them for printing on wood, lino, or other materials, reflect (flip) the images horizontally before carving, so they read correctly when pressed against paper with ink. Here’s an example of one of the images I flipped and lasercut into wood for letterpress printing use:

Photo of a block of wood in a lasercutter, being cut to show a historical illustration of a Luddite, and the text "critical tech! no 'innovation' serving profit over people". Photo is from after 5 total lasercutter passes. Photo digitally flipped for readability.

“made with <3 by” with checkboxes for trans ally or trans printer; & fill-in trans pride flag

Download as: SVG or PNG. (CC-BY-NC Amanda Wyatt Visconti.)

Adobe Illustrator design intended for creating letterpress printing blocks by cutting via lasercutter onto wood, to use to print the image to paper with ink; to achieve this, the black & white colors are inverted. The image will also need to be horizontally flipped, so that when the block is pressed to paper the inked image is legible; but for social media viewing I have left it unflipped. The design is the text "made with love by" followed by checkboxes next to the options "trans ally!" and "trans printer!", followed by the outline for a trans flag you can color in after letterpress printing

“made by a trans ally!” & “made by a trans printer!” with fill-in trans pride flag

Download as: SVG or PNG. (CC-BY-NC Amanda Wyatt Visconti.)

Adobe Illustrator design intended for creating letterpress printing blocks by cutting via lasercutter onto wood, to use to print the image to paper with ink; to achieve this, the black & white colors are inverted. The image will also need to be horizontally flipped, so that when the block is pressed to paper the inked image is legible; but for social media viewing I have left it unflipped. The design is “made by a trans ally!” text next to the outline of a trans flag, which can be filled in later with color

Download as: SVG or PNG. (CC-BY-NC Amanda Wyatt Visconti.)

Adobe Illustrator design intended for creating letterpress printing blocks by cutting via lasercutter onto wood, to use to print the image to paper with ink; to achieve this, the black & white colors are inverted. The image will also need to be horizontally flipped, so that when the block is pressed to paper the inked image is legible; but for social media viewing I have left it unflipped. The design is “made by a trans printer!” text next to the outline of a trans flag, which can be filled in later with color

“made by a trans printer!” on manicule with Erin Moore’s Vision font on “trans”

Download as: SVG or PNG. (CC-BY-NC Amanda Wyatt Visconti.)

Adobe Illustrator design intended for creating letterpress printing blocks by cutting via lasercutter onto wood, to use to print the image to paper with ink; to achieve this, the black & white colors are inverted. The image will also need to be horizontally flipped, so that when the block is pressed to paper the inked image is legible; but for social media viewing I have left it unflipped. The design is a pointing hand that says "printed by a trans printer!" The word "trans" is on the back of the hand, in Erin Moore's groovy Vision font.

“we are older than your laws and we will outlive them”

The text in this design quotes the text from CoyoteSnout’s art, which quotes an old Yiddish lyric with a 20th-century history of resistance/defiance to Jewish persecution and murder (“we will outlive them”) put into the context of trans rights (there have always been trans people).

Download as: SVG or PNG. (CC-BY-NC Amanda Wyatt Visconti.)

Adobe Illustrator design intended for creating letterpress printing blocks by cutting via lasercutter onto wood, to use to print the image to paper with ink; to achieve this, the black & white colors are inverted. The image will also need to be horizontally flipped, so that when the block is pressed to paper the inked image is legible; but for social media viewing I have left it unflipped. The design is “CoyoteSnout’s text “we are older than your laws & we will survive them” in an antique broadside-style typeface, all over a flag-shaped rectangle divided by by bars into 5 equal sections so it can be later colored in with trans or other pride flag color schemes

“Critical tech! No ‘innovation’ serving profits over people” + Luddite

This uses a personally digitally edited version of a public domain image from a historical illustration of a Luddite.

Download as: SVG or PNG. (CC-BY-NC Amanda Wyatt Visconti.)

SVG file of an Adobe Illustrator design intended for creating a letterpress printing block by cutting via lasercutter onto wood, to use to print the image to paper with ink; to achieve this, the black & white colors are inverted. The image will also need to be horizontally flipped, so that when the block is pressed to paper the inked image is legible; but for social media viewing I have left it unflipped. The design shows a historical drawing of “the general of the Luddites” edited to be easier to print from a letterpress block, next to the text “critical tech forever! / no 'innovations' serving profit over people.” in antique broadside-style font.

“glitch their systems”

Download as: SVG or PNG. (CC-BY-NC Amanda Wyatt Visconti.)

Adobe Illustrator design intended for creating letterpress printing blocks by cutting via lasercutter onto wood, to use to print the image to paper with ink; to achieve this, the black & white colors are inverted. The image will also need to be horizontally flipped, so that when the block is pressed to paper the inked image is legible; but for social media viewing I have left it unflipped. The design is “glitch their systems” in a pixelated old English font

Lasercutter Letterpress: making my own letterpress printing blocks—with lasers! and fire!

2025年3月1日 13:00

I’ve been experimenting with lasercutting type-high wood to make letterpress blocks for letterpress printing with, greatly helped by forum posts on the BriarPress.org letterpress community site about topics like type-high wood/shims and lasercutting viability (for example). I wrote up my work to share there in return, and wanted to blog it as well in case it can help others.

Here’s the best lasercut letterpress block I’ve made yet! I’ll update with a print once I next get to use the local Vandercook with it. Photo of a block of wood in a lasercutter, being cut to show a historical illustration of a Luddite, and the text "critical tech! no 'innovation' serving profit over people". Photo is from after 5 total lasercutter passes. Photo digitally flipped for readability.

Here’s the art I used to make it, digitally flipped for readability (for non-letterpress folks: the cut block needs to be reflected horizontally, so when pressed to paper with ink the image comes out correctly): Screenshot of a black and white SVG image file of a historical illustration of a Luddite, and the text "critical tech! no 'innovation' serving profit over people". Photo digitally flipped for readability.

Fun images first, followed by in-depth details of what/why/how below

Skip past them for detailed info on why/what/how, for folks who want that. Any cuts that look like I made them wrong (that are readable left to right, thus would print wrong) are actually digitally flipped to make your reading easier; I just got was lazy about including a note to that effect on each one.

Earliest tests, using only 1 lasercutter pass

These produced pretty shallow cuts; they could be printed okay on a Vandercook, with some of the chatter because I was lazy and wanted to print a bunch of slightly-different-heights cuts at the same time without packing under individual cuts to balance them all, and also didn’t sand/seal these at all before printing (some of the chatter was from the height being shallow, though). I also deliberately kept some of the prints with more chatter, as I thought the wood-grain effect was neat, and wanted to remember to explore deliberately including it on some cuts in the future (as well as cutting deeper to avoid it on most cuts). Photo of a letterpress wood block inked in navy ink, with an image on it of a pointing hand that says "printed by a trans printer!" The word "trans" is on the back of the gand, in Erin Moore's groovy Vision font. The photo has been digitally flipped for readability. Photo of a letterpress print made on white paper with navy ink of a pointing hand that says "printed by a trans printer!" The word "trans" is on the back of the gand, in Erin Moore's groovy Vision font. A corona of woodgrain pattern surrounds it.

Photo of a box of 5 letterpress blocks cut from maple wood with a lasercutter Photo of a letterpress print made on white paper with navy ink of a pointing hand. A corona of woodgrain pattern surrounds it.

Photo of letterpress print blocks made from wood and inked in navy ink. One says "Zine Bakery" in a pixelated font next to an icon of a zine, and the other says "made by a trans printer!" in a serif font. The photo has been digitally flipped for readability. Photo of a letterpress print made on white paper from navy ink. The bottom line says "Zine Bakery" in a pixelated font next to an icon of a zine, and the top line says "made by a trans printer!" in a serif font.

This one is especially fun, as it started as a shape cut from craft foam using safety scissors and printed on a BookBeetle; I then scanned the print, cleaned that scan digitally, lasercut it into wood, and printed from that. Photo of a lasercut dog image with long legs, raised up on a block of wood

You can see the cut is fairly shallow: Photo of a lasercut dog image with ling legs, raised up on a block of wood, viewed from the side to show how the image sits higher than the rest of the wood Photo of a letterpress print block made from a wood blick on white paper inked in navy ink. It shows a very long-legged dog silhouette with a woodgrain texture. Photo of a letterpress print block made from wood and inked in navy ink. It shows a very long-legged dog silhouette.

Here’s the original BookBeetle/craft foam print the above cut came from: Photo of a cardboard sheet holding a craft foam cut-out of the silhouette of a very long-legged dog, covered messily in mottled fluorescent blue and pink ink from being used to print with a BookBeetle letterpress. Photo of a Bookbeetle letterpress-printed print of the silhouette of a very long-legged dog, printed in mottled fluorescent blue and pink ink on white paper. You can see some extra ink splots outside the silhouettes from where I didn't cut a frisket to protect the parts of the paper I didn't want printed on

Photo digitally flipped for readability. Sometimes there is flame; optimally, there is not any (power was too high and/or speed too slow): Photo of a rectangle of wood inside a lasercutter, blossoming with orange flame at one end; the words "zine" twice in arow are visible on the wood's surface (inage digitally flipped for legibility)

Testing different laser methods & settings

Next two photos are digitally flipped for readability, zoomed in to show text height from block surface. On the “zines zines zines” block, each word looks slightly different because a different lasercutter method was used on each, with raster cutting deepest (far right) but also burning most, cut (far left) cutting least, and etch in the middle. It probably didn’t help I used subpar random mystery Ebay wood… Photo of two rectangles of wood cut into visa lasercutter to say "dogs" and "zines zines zines"; on the latter, each word looks slightly different because a different lasercutter method was used, with raster cutting deepest but also burning most, cut cutting least, and etch in the middle Photo of two rectangles of wood cut into visa lasercutter to say "dogs" and "zines zines zines"; on the latter, each word looks slightly different because a different lasercutter method was used, with raster cutting deepest but also burning most, cut cutting least, and etch in the middle. The photo is tilted to show the letters are cut to varying depths in the wood; all letters would be feelable with fingers, but only some are deep enough to easily get a clean letterpress print from them

Best outcome yet

“Critical tech: no ‘innovation’ serving profit over people.” 5 lasercutter passes, passes 1, 2 or 3?, 5 shown below (final photo digitally flipped for readability): Photo of a block of wood in a lasercutter, being cut to show a historical illustration of a Luddite, and the text "critical tech! no 'innovation' serving profit over people". Photo is from during the 1st of 5 eventual lasercutter passes. Photo of a block of wood in a lasercutter, being cut to show a historical illustration of a Luddite, and the text "critical tech! no 'innovation' serving profit over people". Photo is from after 2 or 3 total lasercutter passes. Photo of a block of wood in a lasercutter, being cut to show a historical illustration of a Luddite, and the text "critical tech! no 'innovation' serving profit over people". Photo is from after 5 total lasercutter passes. Photo digitally flipped for readability.

Why do this at all?

Because experimenting is fun; because you can make longlasting cuts from your own or other favorite images, including things you can’t buy historical or new cuts of; to design your own type (very advanced to do well); to have type in hard- or impossible-to-find (at least in the U.S.) languages and scripts (ditto). If you have free access to a good-enough lasercutter (eg thorugh a local library or college makerspace), the total cost can be very cheap in general (just the cost of evenly-cut maple blocks and one of many options for materials to make a shim bringing it up to type-high).

What lasercutter & settings?

I’m using the VLS 6.75 lasercutter (aka “Vader”) in Scholars’ Lab’s makerspace, for which I wrote my first zine (a cheatsheet on cutting and etching on acrylic using this lasercutter). You need to be trained by us before using it, but it’s available to anyone who can visit us in-person (no UVA affiliation needed!) and we offer both periodic workshops and 1:1 training by appointment. Non-commercial use is free, but you do need to bring your own materials to cut/etch (unlike our 3D printers, where we provide the filament for free for most non-commercial projects). Luckily, materials can be fairly inexpensive, starting from scrap cardboard, and even nicer looking wood can be fairly reasonable (e.g. a nicely finished bamboo cutting board from Ikea is a great lasercutting block, and costs ~$10).

The final 2 passes I did on the Luddite/critical tech cut above were set to 90 power, 90 speed, and 500 PPI, using 5 total complete lasercutter passes. I’ll continue tweaking those, and ideally I would have done maybe 7-8 passes but I ran out of time. (I varied the settings over the course of the 5 passes, but each took around 13 minutes, which included time the laser was doing nothing cutting the empty space above where my material was because I didn’t know how to move the start point lower, lol).

The SVG file producing the cut was color inverted so that the parts I wanted cut away were black, and the parts I wanted to remain raised were white. I also horizontally flipped the image so it would come out correctly readable when printed.

Finding a lasercutter

If you haven’t used a lasercutter before but are curious, I encourage you to ask a local or college/university librarian if they have or know of any nearby that can be used—with cheaper and smaller versions becoming more available, at least in the U.S. these seem to be popping up in more makerspaces in the last couple years. I’m not sure, but think the standing rather than tabletop kind are the ones with enough power (and safe venting requirements) to cut deep enough into hard woods, though other materials are also possible.

Materials

Lots of good posts if you search the Briar Press forum. For wood, end-grain maple seems to hit the sweet spot for price, hardness, results, but I’ve seen folks mention other options including cherry hardwood.

  • So far I’ve used type-high, maple wood blanks from Virgin Wood Press, McKellier, and Ebay old letterpress blanks with the lead piece chipped off (don’t put lead in a lasercutter, the fumes are toxic)
  • Non-type-high wood: get wood from anywhere cheaper (eg McClains) then add a shim (of wood, 3D printed block, tape, ?) to bring it to type-high
  • Other materials: acrylic (I’ve used this in a lasercutter, lovely results, very quick <2min cuts, can get fun seethrough neon colors!); harder (grey, not “EZ Cut”) or other labeled-laser-safe linoleum (thanks for advice from Ryan Cordell*)

What’s involved: basic

Basic lasercutter use is not overly complicated to learn, if you have some comfort using computer programs, especially saving image files containing letters or shapes from any drawing program. You use a drawing program such as Adobe Illustrator to create the lines or shape you want to cut or etch—any program that can save as an SVG file—give the lasercutter some info (e.g. what kind of material you’re cutting, how thick the material is), and position the material or image so the cuts happen in the right places, then click a button and it does the rest.

A more even and precise press (e.g. Vandercook, rather than hand-pressing or craft press) may be able to print cleaner from shallower-lasercut blocks.

What’s involved: intermediate

I’ve found the non-basic part to be figuring out the best lasercutter settings (such as speed and power) for the material you’re using. Harder materials take more power to cut into and to cut deeper. With wood, speed and power impact whether you get from zero burning, to small flames, to burnt wood.

So far, I’ve had the most success playing with these using cheap sample wood (though preferably of same/similar wood type and height to what you’ll ultimately use, so the settings work the same) to find the highest power (deepest cutting) and highest speed (finishes fastest) that don’t overly burn the wood, then doing multiple passes of the lasercutter (not touching the material at all in between, so that it remains exactly perfectly registered with the cuts going in the exact same places each time).

What’s involved: advanced

I’m not at any advanced stage doing this yet :) but lots of folks are, including users on the Briar Press forum, and some of the folks producing new wood type available via online stores too. Cordell recommended starting cuts on a lasercutter, then using a CNC router to dig out most of the wood farther away from the left-as-type-high bits faster and deeper than a lasercutter can.

There are also a number of folks creating blocks and type completely via CNC router; I took a very fun and informative virtual workshop from Ryan Molloy on this topic via Partners in Print last fall.

* P.S. Thanks to Ryan Cordell (Skeumorph Press) for generously sharing insights on his lasercutting letterpress experience. And unrelatedly, to the extremely generous Briar Press forum users platenman and jnbirdhouse, who’ve helped Scholars’ Lab be able to get closer to starting to teach full-size letterpress to the public!

Designing a Data Physicalization: A love letter to dot grid paper

2025年2月11日 13:00

Claudia Berger is our Virtual Artist-in-Residence 2024-2025; register for their April 15th virtual talk and a local viewing of their data quilt in the Scholars’ Lab Common Room!

This year I am the Scholars’ Lab’s Virtual Artist-in-Residence, and I’m working on a data quilt about the Appalachian Trail. I spent most of last semester doing the background research for the quilt and this semester I get to actually start working on the quilt itself! Was this the best division of the project, maybe not. But it is what I could do, and I am doing everything I can to get my quilt to the Lab by the event in April. I do work best with a deadline, so let’s see how it goes. I will be documenting the major steps in this project here on the blog.

Data or Design first?

This is often my biggest question, where do I even start? I can’t start the design until I know what data I have. But I also don’t know how much data I need until I do the design. It is really easy to get trapped in this stage, which may be why I didn’t start actively working on this part of the project until January. It can be daunting.

N.B. For some making projects this may not apply because the project might be about a particular dataset or a particular design. I started with a question though, and needed to figure out both.

However, like many things in life, it is a false binary. You don’t have to fully get one settled before tackling the other, go figure. I came up with a design concept, a quilt made up of nine equally sized blocks in a 3x3 grid. Then I just needed to find enough data to go into nine visualizations. I made a list of the major themes I was drawn to in my research and went about finding some data that could fall into these categories.

A hand-written list about a box divided into nine squares, with the following text: AT Block Ideas: demographics, % land by state, Emma Gatewood, # miles, press coverage, harassment, Shenandoh, displacements, visit data, Tribal/Indig data, # of tribes, rights movements, plants on trail, black thru-hikers
What my initial planning looks like.

But what about the narrative?

So I got some data. It wasn’t necessarily nine datasets for each of the quilt blocks but it was enough to get started. I figured I could get started on the design and then see how much more I needed, especially since some of my themes were hard to quantify in data. But as I started thinking about the layout of the quilt itself I realized I didn’t know how I wanted people to “read” the quilt.

Would it be left to right and top down like how we read text (in English)?

A box divided into 9 squares numbered from left to write and top to bottom:  
1, 2, 3  
4, 5, 6  
7, 8, 9

Or in a more boustrophedon style, like how a river flows in a continuous line?

A box divided into 9 squares numbered from left to write and top to bottom: 1, 2, 3; 6, 5, 4; 7, 8, 9

Or should I make it so it can be read in any order and so the narrative makes sense with all of its surrounding blocks? But that would make it hard to have a companion zine that was similarly free-flowing.

So instead, I started to think more about quilts and ways narrative could lend itself to some traditional layouts. I played with the idea of making a large log cabin quilt. Log cabin patterns create a sort of spiral, they are built starting with the center with pieces added to the outside. This is a pattern I’ve used in knitting and sewing before, but not in data physicalizations.

A log cabin quilt plan, where each additional piece builds off of the previous one.
A template for making a log cabin quilt block by Nido Quilters

What I liked most about this idea is it has a set starting point in the center, and as the blocks continue around the spiral they get larger. Narratively this let me start with a simpler “seed” of the topic and keep expanding to more nuanced visualizations that needed more space to be fully realized. The narrative gets to build in a more natural way.

A plan for log cabin quilt. The center is labeled 1, the next piece (2) is below it, 3 is to the right of it, 4 is on the top, and 5 is on the side. Each piece is double the size of the previous one (except 2, which is the same size as 1).

So while I had spent time fretting about starting with either data/the design of the visualizations, what I really needed to think through first was what is the story I am trying to tell? And how can I make the affordances of quilt design work with my narrative goals?

I make data physicalizations because it prioritizes narrative and interpretation more than the “truth” of the data, and I had lost that as I got bogged down in the details. For me, narrative is first. And I use the data and the design to support the narrative.

Time to sketch it out

This is my absolute favorite part of the whole process. I get to play with dot grid paper and all my markers, what’s not to love? Granted, I am a stationery addict at heart. So I really do look for any excuse to use all of the fun materials I have. But this is the step where I feel like I get to “play” the most. While I love sewing, once I get there I already have the design pretty settled. I am mostly following my own instructions. This is where I get to make decisions and be creative with how I approach the visualizations.

(I really find dot grid paper to be the best material to use at this stage. It gives you a structure to work with that ensures things are even, but it isn’t as dominating on a page as a full grid paper. Of course, this is just my opinion, and I love nothing more than doodling geometric patterns on dot grid paper. But using it really helps me translate dimensions to fabric and I can do my “measuring” here. For this project I am envisioning a 3 square foot quilt. The inner block. Block 1, is 12 x 12 inches, so each grid represents 3 inches.)

There is no one set way with how to approach this, this is just a documentation of how I like to do it. If this doesn’t resonate with how you like to think about your projects that is fine! Do it your own way. But I design the way I write, which is to say extremely linearly. I am not someone who can write by jumping around a document. I like to know the flow so I start in the beginning and work my way to the end.

Ultimately, for quilt design, my process looks like this:

  1. Pick the block I am working on
  2. Pick which of the data I have gathered is a good fit for the topic
  3. Think about what is the most interesting part of the data, if I could only say one thing what would that be?
  4. Are there any quilting techniques that would lend itself to the nature of the data or the topic? For example: applique, English Paper Piecing, half square triangles, or traditional quilt block designs, etc.
  5. Once I have the primary point designed, are there other parts of the data that work well narratively? And is there a design way to layer it?

For example, this block on the demographics of people who complete thru-hikes of the trail using annual surveys since 2016. (Since they didn’t do the survey 2020 - and it was the center of the grid - I made that one an average of all of the reported years using a different color to differentiate it.)

I used the idea of the nine-patch block as my starting point, although I adapted it to be a base grid of 16 (4x4) patches to better fit with the dimensions of the visualization. I used the nine-patch idea to show the percentage of the gender (white being men and green being all other answers - such as women, nonbinary, etc). If it was a 50-50 split, 8 of the patches in each grid should be white, but that is never the case. I liked using the grid because it is easy to count the patches in each one, and by trying to make symmetrical or repetitive designs it is more obvious where it isn’t balanced.

A box divided into 9 squares, with each square having its one green and white checkered pattern using the dot grid of the paper as a guide. The center square is brown and white. On top of each square is a series of horizontal or vertical lines ranging from four to nine lines.

But I also wanted to include the data on the reported race of thru-hikers. The challenge here is that it is a completely different scale. While the gender split on average is 60-40, the average percentage of non-white hikers is 6.26%. In order to not confuse the two, I decided to use a different technique to display the data, relying on stitching instead of fabric. I felt this let me use two different scales at the same time, that are related but different. I could still play with the grid to make it easy to count, and used one full line of stitching to represent 1%. Then I could easily round the data to the nearest .25% using the grid as a guide. So the more lines in each section, the more non-white thru-hikers there were.

My last step, once I have completed a draft of the design, is to ask myself, “is this too chart-y?” It is really hard sometimes to avoid the temptation to essentially make a bar chart in fabric, so I like to challenge myself to see if there is a way I can move away from more traditional chart styles. Now, one of my blocks is essentially a bar chart, but since it was the only one and it really successfully highlighted the point I was making I decided to keep it.

A collection of designs using the log cabin layout made with a collection of muted highlighters. There are some pencil annotations next to the sketchesThese are not the final colors that I will be using. They will probably all be changed once I dye the fabric and know what I am working with.

Next steps

Now, the design isn’t final. Choosing colors is a big part of the look of the quilt, so my next step is dyeing my fabric! I am hoping to have a blogpost about the process of dyeing raw silk with plant-based dyes by the end of February. (I need deadlines, this will force me to get that done…) Once I have all of those colors I can return to the design and decide which colors will go where. More on that later. In the meantime let me know if you have any questions about this process! Happy to do a follow-up post as needed.

ISAM 2024 Conference Report

2024年12月17日 18:07

Each year educators, students, and staff of university makerspaces gather to share research, ideas and projects at the International Symposium on Academic Makerspaces conference. This was the first year since it’s founding in 2016 that the conference was held internationally, at Sheffield University in England. It was, perhaps, the international appeal that convinced several SLab Makerspace Technologists to submit a paper or project to the conference. Unsurprisingly (because these students are amazing) all of the papers and project were accepted for the conference.

It was a great conference, a fun trip, and we all did great on our presentations. The most unfortunate thing was that Link Fu came down with COVID two days before the trip and was too sick to travel with us. Resourceful as always, she recorded her part of the presentation and we were able to play that during our session.

by J.Phan and J. Truong

Recommending Makerspace Best Practices Based On Visualization of Student Use Data

by Holly Zhou and Ammon E. Shepherd

Typewriter Poetics: Creating Collaborative Memory Maps

by Qiming (Link) Fu and Ammon E. Shepherd

Mutualism between Interdisciplinary Student Organizations and Makerspaces: The Nutella Effect

Limited Letterpress Synonym Finder

2024年12月15日 13:00

I coded a quick web app for a particular book arts need: Limited Letterpress Synonym Finder. If you too also only have 1xA-Z letterpress type on hand (ie just the 26 characters of the alphabet, 1 sort per letter) and what to figure out what you can print without needing to carefully position (register) your paper and do multiple pressings between moving the letters around, you can enter words here to see only those synonyms you’re able to print (i.e. only synonyms using no more than 1 of each A-Z letter).

Screenshot of the Limited Letterpress Synonym Finder webpage linked in the post, which says "Limited Letterpress Synonym Finder. For when you only have 1 x A-Z type on hand. Finds synonyms for the word you input, removes any that use any letter more than once, then displays the rest. (Only works with single-word inputs, not phrases.)" There is a field to enter words, with the word "glow" entered in this example screenshot, followed by a "Find that subset of synonyms" button. There is a list of matching non-multiple-same-letter synonyms for "glow" shown, containing the words burn, beam, shine, gleam, and lambency. Below is a retro internet logo image:  on a black background, the text "Limited Letterpress: Synonym Finder" is in a glowing green neon Old English font.

Zine Bakery: borderless DH research, methods training, and scholarly communication via zines

2024年12月2日 13:00

My presentation on “Zine Bakery: borderless DH research, methods training, and scholarly communication via zines” was accepted to the Spring Global DH 2025 conference. My talk abstract is below:

People often picture zines thinking of their 20th-century origin as collaged, xeroxed, free paper booklets about subcultures, social justice, marginalized experiences. Today, though, creators make “zines” that vary widely in format and topic, including 100+ page tiny books, feminist tech tutorials, creative websites. Most zines stay true to the form’s original vision of radically low-barrier authoring, publication, and reading, though.

Using data visualization, an ethics charter, database and metadata creation, and exemplar Global DHy zines, this “Zine Bakery” presentation demonstrates zines as welcoming, accessible, effective formats for borderless do-it-yourself scholarly communication, friendly digital method teaching, public humanities outreach, just-in-time crisis response. ZineBakery.com is a portal to zine-inspired DH scholarship, including:

  • Public, relational-database-driven zine catalogue
  • Data visualizations
  • Zine-related DH theory and practice research blog (e.g. dataset-building, catalogue interface design, coding documentation)

ZineBakery.com’s zine catalogue contains 375+ DHy zines, with 60+ descriptive metadata fields/zine. The catalogue’s focus on zines at the intersections of tech, culture, and justice means it strongly overlaps conference themes: socially just, accessible, global DH; public, citizen humanities; tech and academic equity, diversity, inclusion; DH pedagogy. 45+ of its zines are by non-U.S. authors and/or about non-U.S. experiences; 40+ of its zines are explicitly DH-focused, with another 110+ zines in adjacent DHy areas (e.g. feminist tech, coding tutorials, data science). This presentation will share a list of links to free Global DHy zines (e.g. Bangalore hardware craft, heritage podcasting across Africa, Puerto Rican digital crowdsourcing).

This scholarship will interest DH and library staff managing public spaces/events (for potential zine sharing, instruction); digital methods teachers seeking new ways to support learning; folks new to DH seeking friendly documentation around a current DH project’s in-progress successes and failures; and DH researchers desiring more ways to share their work with the public.

2024 IDEA grant for Qianqian Shao and The Makerspace

2024年11月14日 13:00

In February of 2024, Qianqian Shao, Makerspace volunteer, and Ammon Shepherd, Makerspace Manager, were awarded a Library IDEA grant to provide opportunities for underrepresented students.

In 2022, the Library’s IDEA Committee received library staff requests to help support programming related to IDEA. The success of these projects encouraged the committee to create a process to support and promote staff-generated programming pertaining to inclusion, diversity, equity, and accessibility across the library.

Our proposal was to welcome 4 female Black and Latino/Hispanic students, along with 2 teachers, from Annandale High School to the UVA campus and the library for the Spring of 2024. The students will have a tour of Grounds with a focus on UVA libraries. The students will visit the Lawn and Rotunda to learn about the history of UVA. They will visit Brown, Clemons, and Main Libraries to learn about the resources available to UVA students. The Scholars’ Lab Makerspace will host a workshop for the students while they are at UVA.

The following is taken from a presentation that Qianqian gave to the Library at a monthly “Town Hall” meeting to report on the success of the initiative.


Good afternoon, everyone.

My name is Qianqian, I’m a PhD candidate (graduated on November 5, 2024) from the Chemistry department. Today, I’m excited to share with you the highlights from an impactful event that took place as part of my IDEA project.

First of all, I would like to thank you for funding my proposal, which made this event possible. Your support allowed me to create a truly impactful experience for underrepresented Black, Hispanic and Latino female high school students, showing them the opportunities available in higher education.

On Wednesday, April 24, 2024, we had the pleasure of welcoming five students and two teachers from Annandale High School for a one-day visit to the University of Virginia. The goal was to inspire these young women by introducing them to both the academic and social aspects of college life, showing them what’s possible for their futures, and what kind of resources our library can provide.

The day began at the Chemistry Department, where they were guided by Dr. Marcos Pires, the Director of Graduate Studies of Chemistry. He provided an overview of the chemistry program and offered insights into the broader STEM opportunities available at UVA.

Visit to Chemistry Department

Following that, with the help of Kalea Obermeyer and Michelle Bair, program coordinators of the Hoos First: First-Generation & Limited-Income Initiatives, along with Kimberly Wong, the students had the opportunity to connect with UVA students from their home countries. This connection helped them see how they could build a community of support as they begin their own college journeys.

Visit with Hoos First - talkingVisit with Hoos First - visitingVisit with Hoos First - enjoying

Then, we had the privilege of hosting Dr. Adrienne Ghaly from the English Department, who gave an inspiring presentation on global citizenship and global policy. She also shared her project, “Read for Action: Climate, Conflict, and Humanitarian Crisis,” which is in partnership with the United Nations Office for the Coordination of Humanitarian Affairs. Dr. Ghaly’s session sparked meaningful discussions, helping the students understand how reading books in a library can connect to a deeper understanding of broader global issues.

Visit with Dr. Ghaly - teachingVisit with Dr. Ghaly - learningVisit with Dr. Ghaly - talking

After the presentation, the students enjoyed a campus tour and lunch in the Shannon Library, where they met two guest speakers, Samuel Wachamo and Giovanna Camacho, who are pursuing MD and PhD programs at UVA. These interactions provided the students with first-hand insights into the experiences of Hispanic, Black and Latino individuals in higher education and how they can navigate similar paths.

At the Rotunda

The students also got a chance to audit Dr. David Kittlesen’s immunology lecture after lunch.

To wrap up the day, the students visited the Scholars’ Lab Makerspace, where the students explored a variety of hands-on activities, learning about the innovative equipment available to UVA students. They even made personalized buttons as part of their experience. It was a fun and interactive way to introduce them to the creative and collaborative opportunities they could expect in college.

Makerspace Visit - making buttonsMakerspace Visit - students

Overall, the visit was a tremendous success. The students and teachers left UVA having made valuable connections with both professors and current students, and they expressed a newfound sense of excitement about their future educational possibilities.

Special thanks to Makerspace manager Ammon Shepherd, who supervised my project, and to Makerspace technician Kroesna Chour for assisting during the event. I managed all aspects of the event myself, except during lunch when I had to arrange catering at Shannon Library. At that time, Summer (Wenxin) Xu kindly picked up the food while I guided the students to meet Dr. Ghaly in the English Department. Later, Kroesna helped lead the group to the library, allowing me to finalize the setup for catering. I couldn’t have accomplished this event without their support.

My recent making projects roundup: zines, letterpress, coding, fabrication

2024年11月6日 13:00

(link josef, alphabuzz, bookbeetle, blog bookbloosom) (link provisional press co) bookbinding (makerspace link, Leah Phan shoutout) apprenticeship vandcook: (link books arts memberships)

Zines

“Speedweve for mending” zine

A 16-page standard-size, full-color zine, “Speedweve for Mending” introduces you to speedweve-style mending looms for fixing small holes in socks and other fabric: What are they? What’s cool about them? Why might you want to try one? How would you get started using one? It’s a zine-ification by me, of a 10/15/2024 #DHMakes Methodz Talk and slides by Sam Blickhan. (#DHMakes Methodz Talks is a public maker talk series I organize.)

In-progress zine writing

I’m currently drafting a zine about making zines, based on Claudia Berger’s 10/31 (#DHMakes Methodz Talk on the topic, in Canva. I’ve got a new paper draft of a mini-zine on researching and procuring your first set of letterpress wood or metal type. I’ve also got a full paper draft of a mini-zine introduction to letterpress typesetting and Vandercook press printing, started back in August.

Bluesky follower/following/list management tool using coding

I coded a Bluesky follower/following/list management app for myself, since I couldn’t find one. You can achieve a surprising amount with just HTML and a little JavaScript: I made a webpage with a sortable table of Bluesky accounts, linked to their profile pages, with columns for various metadata like last-posted date—without needing an API access token.

Letterpress/book arts x lots of project work!

Building a Provisional Press tabletop letterpress printing press from a kit

I used the Provisional Press kit to build a wooden tabletop letterpress printing press:

Photo of a kitchen table covered with neatly arranged pieces of a to-be-assembled tabletop letterpress roller printing press. The pieces are mostly wood slats, plus a large PVC-pipe tube, clamps, glue, small metal hardware, and a long thick metal bolt

Photo of a Provisional Press tabletop showcard letterpress, made of light-colored wood, PVC pipe, and metal, roughly the size of 3 shoeboxes

Photo of Provisional Press letterpress calibration block, a .918” nearly-a-cube of light-colored maple wood with that information laser burnt into its side, sitting on a table. In the background, a white dog with long legs lounges on a full-moon-shaped rug and looks on expectantly.

A Hobonichi-Techno-style notebook using bookbinding methods

I took student Makerspace Tech Leah Phan’s Scholars’ Lab Makerspace workshop (recommended!) on using bookbinding methods to create a a Hobonichi-Techno-style notebook:

Closeup photo of an orange construction-paper-bound journal, showing how the spine is sewn with charcoal thread in a chain stitch that loops back on itself

Closeup photo of the inside of a handmade paper-bound journal, showing how the spine is sewn with charcoal thread in a chain stitch that loops back on itself

Closeup photo of an orange construction-paper-bound journal, showing how the spine is being sewn with charcoal thread in a chain stitch that loops back on itself, using a curved needle and waxed linen thread

A work table spread with supplies for handmaking a journal, including folded inner paper, an orange construction paper cover, a half-circle needle, cardboard for stabbing the awl into, and a white bone folder to help crease pages at the spine

A year-long letterpress printing apprenticeship

I’m just starting a year-long letterpress printing apprenticeship with the Virginia Center for the Book Book Arts, focused on typesetting in metal and wood, showcard press practice, and especially projects and practice toward certification to run their Vandercook proofing press on my own (and hopefully help teach it to others, too). Shane is also doing this—let us know if you’re interested in learning or collaborating on letterpress, book arts, and adjacent digital work.

This follows up on the August 4-day letterpress printing intensive we took, as well as my other recent letterpress and book arts work.

BookBeetle screw press & letterpress printing pedagogy

Last Saturday was the 1st session of Josef Beery’s Alphabuzz at the the Virginia Center for the Book Book Arts: a cohort of letterpress folks learning how to teach public & K-12 letterpress printing with the BookBeetle, a reproduction historical screw letterpress designed to be ultra-accessible for public and teaching use. We did 6 letterpress printing exercises aimed at public teaching various age groups from kindergarten up, including letterpress printing with legos, Josef’s new BookBlossom wood type, a Declaration of Independence photopolymer plate, & my fave: cutting craft foam to make a bestiary book!

The remaining three sessions will involve: our teaching K-12 teachers how to teach with the press, our teaching those teachers and their students, and a daylong intensive on letterpress history and practice (including printing on a Franklin Common Press!).

Photo of the BookBeetle tabletop screw letterpress, a letterpress printer made of light-colored wood with a big handle on top for turning the screw that presses the ink into the paper. In the printer bed is visible the type that was printed onto the previous photo, a pangram (sentence using all letters in the alphabet at least once) that says: “Bodoni Devoured My Ersatz Quinoa Whilst Perusing The Xray For Jack”.

Photo closeup of the BookBeetle tabletop screw letterpress’s print bed, showing the type that was printed onto 1st previous photo: rounded, all-caps uppercase forming a pangram (sentence using all letters in the alphabet at least once) that says: “Bodoni Devoured My Ersatz Quinoa Whilst Perusing The Xray For Jack”.

Photo of a tshirt cardboard with a piece of craft foam affixed to it; the craft foam has been cut into the shape of a dog with very very long legs, and inked with fluorescent blue and pink ink.

Photo of a white piece of paper printed with the shape of a dog with very very long legs, and inked with fluorescent blue and pink ink.

Fabrication

I made progress on my neon ghost books project, an attempt to emulate Aidan Kang’s Luminous Books described in my “Book-adjacent data” journal article.

I learned:

  • hot glue gun doesn’t work well for these glass & acrylic joints (too thick, dries too fast; had to peel off and re-glue with clear Loctite superglue)
  • leaving paper wrapping on the on glass & acrylic to protect it from the glue meant that it is now annoying to remove; and I discovered that excess glue actually cleans off it easily without leaving a cloud
  • the jigsaw-edge box design calculator I used, and/or the glass cutting measurement tolerances are off (resulting in gaps between the joints)

Photo of a kitchen table covered with supplies for gluing acrylic and glass boxes together. Supplies include a hot glue gun, cutting boards, a clear thick acrylic material made into a shape intended to eventually be a box with two sides glued together; a book-shaped rectangular box made of glass, missing the top and bottom sides, where the edges are cut into jigsaw crenellations, with glue drying between the joints; a cup of Q-tips; a bowl of trash; a cardboard box.

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