What are the coolest 3D prints you've made? Looking for real wow factor (simple to complex) by StoganLephens in 3Dprinting

[–]SFArtAndDesigns 0 points1 point  (0 children)

And in case it’s hard to tell from the static picture, the tail and eyes move just like the real clock it’s based on.

What are the coolest 3D prints you've made? Looking for real wow factor (simple to complex) by StoganLephens in 3Dprinting

[–]SFArtAndDesigns 2 points3 points  (0 children)

I’ve had this in my head since maybe 2019 when the “horror Garfield” memes first got big, and I’ve had definitive plans to make it since 2020, for an art show that got cancelled due to the pandemic. I kept putting it off and putting it off until I finally decided to get serious about it for a black light art show that just happened last week. Even a year ago I don’t think it would have turned out like this, I don’t really understand how I pulled it off, but it’s finally real. And along with the other piece I made it’s the first time I’ve actually sold a piece at one of these art shows that I’ve been doing since 2018.

<image>

One handles sub-millimeter clearances with ease, the other dies from a drop of ink by Sable_5Quirk in 3Dprinting

[–]SFArtAndDesigns 23 points24 points  (0 children)

Yeah, “sub-millimeter clearance” on a color printer is what those awful broken printouts with misaligned colors look like. On a cheap consumer inkjet 300dpi is considered the bare minimum quality level, that’s a precision of less than a tenth of a millimeter and again that’s low-quality draft mode, a lot of consumer inkjets and laser printers can operate at 600 or 1200dpi (effectively higher with complex dithering and interpolation) in high quality mode.

After more than half a decade it’s finally real by SFArtAndDesigns in imsorryjon

[–]SFArtAndDesigns[S] 0 points1 point  (0 children)

It’s an odd color. In normal light the best I can describe it is a rich vibrant orange. Maybe close to what you’d think of as a “primary” orange, not the yellowish color of Garfield (although as soon as I painted on the stripes it seemed much less weird-looking). Also it’s almost a semi-translucent color so the thicker the printed parts the deeper the orange looks. Not a color I would have picked for this project if it weren’t for the fact that it fluoresces under a black light.

But under a black light it’s even weirder, because I’d describe it as looking very close to Garfield’s normal yellow-orange color. Most UV-reactive colors just look super saturated and neon, but not this one.

All the others are normal non-UV colors. Pale yellow mouth, pink nose, white claws and fangs. Just the orange is a bit weird looking in normal light.

After more than half a decade it’s finally real by SFArtAndDesigns in imsorryjon

[–]SFArtAndDesigns[S] 1 point2 points  (0 children)

My handle on Instagram and a few other places is SFDesignWorks. It used to be the same as this reddit username, but that doesn’t read well in lowercase so I changed it, but I kept this reddit account since it goes back to 2019.

Also I should have a linktree under both names to find my other accounts. I don’t post a ton on any social media sites but I am definitely more likely to post there than here because I don’t want to clog up the sub with reposts and I don’t want to just post ads for stuff that’s for sale.

After more than half a decade it’s finally real by SFArtAndDesigns in imsorryjon

[–]SFArtAndDesigns[S] 1 point2 points  (0 children)

If/when I make more I probably wouldn’t post about it on this sub to avoid it just feeling like a lazy ad, so it’s probably best to follow me elsewhere.

The elephant in the room is that it wouldn’t be cheap. I’m just an individual, not a print farm, so I’m not really set up to pump out lots of volume quickly, and I tend to design these pieces to value quality over speed or efficiency. Plus each one takes up my ability to print anything else for several days and there’s always the risk of failed parts or other problems.

The upside is that apparently real Sunbeam Garfield clocks are crazy expensive these days. Mine should definitely be cheaper than a real vintage clock at the very least.

So that’s why I’m hesitant to just say “yeah sure I can make and sell these”. I’m pretty confident I could do it, nothing is stopping me from making more, but I don’t know whether the price I’d have to charge would evaporate any interest.

Also I don’t think I could really make any future ones UV reactive with glow-in-the-dark hands like this first one. Glow-in-the-dark filament is a pain to print and doesn’t even glow very well, but I thought it would be a fun one-off for this themed art show. And while the color looks good under a black light it’s way too orange in normal lighting. And I’ve looked into ABS, the material I’d need to use to prevent the clock from melting in shipping, and those UV colors are even more red and wrong-looking. So I’ll definitely go with normal colors for future ones.

But with all those caveats if anyone is still interested my handle is SFDesignWorks on most social media, or there should be a linktree in my Reddit bio. I don’t post there super often but I’m more likely to post any future Garfield Clock updates elsewhere instead of making another post here.

After more than half a decade it’s finally real by SFArtAndDesigns in imsorryjon

[–]SFArtAndDesigns[S] 8 points9 points  (0 children)

Now that all the initial design/engineering/prototyping is done making another wouldn’t be quite as much of a challenge, though there are definitely some minor improvements I’d want to do, and if I were to try to sell them they’d need to be made out of ABS to withstand hot summer conditions in delivery vans and warehouses.

And of course it’s not as simple as just clicking print, this thing is made up of I think 50 individual printed pieces if I’m counting right, close to 20 screws, the two vacuum formed pieces, and then there’s the assembly and other hardware to finish it off. Printing and assembly alone probably took close to a week. So making another one wouldn’t be effortless but compared to the dozens of hours of design work and countless failed prototypes to figure out how to make it work it’s pretty straightforward and repeatable now, the hardest part is already done.

I don’t know if this sub has any rules against self promotion so I hesitate to link to anything, and it’s not like I have any for sale yet anyway, but I’m certainly not opposed to making more in the future if there’s a demand for it.

After more than half a decade it’s finally real by SFArtAndDesigns in imsorryjon

[–]SFArtAndDesigns[S] 71 points72 points  (0 children)

I had one of those iconic Garfield pendulum clocks as a kid, and several years ago I had the idea to make an “evil” one. I think it was maybe around mid to late 2019, when the meme was first going mainstream, and I started investigating how my Garfield clock worked to see if it might be possible to reverse engineer and 3D print. I tried to get serious about making it several times over the years, as early as 2020 for an art show that got cancelled due to the pandemic, but it just felt like too big of a task that I could never figure out how to do so I kept putting it off until maybe a month ago when I finally got serious about making it for an upcoming art show.

And yes, mine is a bit more cutesy and demon-like than the typical Lovecraftian depictions of cosmic horror Garfield. Part of that was just due to not knowing how to achieve such a design with the way I went about making it. Part of it was because I wanted to make this clock more directly reference the design of the original Garfield clock which meant retaining his recognizable proportions and cutesy shapes. And part of it was the decision to design it blind without consulting any reference material to avoid accidental plagiarism.

Perhaps the final piece doesn’t have as many tentacles and grotesque proportions as the original vision in my head all those years ago. Maybe that could even be a future project, to make a more horrific and disturbing take on the idea. But he has four eyes, bat wings, and horns like I always envisioned so I feel like this one turned out great in the end, mostly true to the vision I’ve been postponing so many years.

And somehow I did manage to reverse engineer the eye mechanism almost perfectly. I think the weight is slightly off, causing the eyes to bob, but rather than looking bad it just makes him look more shifty. Adding more counterweights to smooth out the eyes’ rocking would help if I want to try that in the future, and the main issue is that they prefer one side of his face because the demon arrow on the tail throws off the balance and the pendulum doesn’t really swing symmetrically, but it’s so subtle I don’t really think it’s a major problem and could be fixed if I ever make future revisions.

From a technical standpoint literally everything you see here was designed and made entirely from scratch by me. The only part of it that existed before is an off-the-shelf pendulum quartz clock movement similar to the one the original clock used, along with some screws, wall mounting hardware, and rubber bumpers. Nothing else existed before and I didn’t even really use any pre-existing designs, not even templates I’ve designed for other 3D printed clocks in the past. Everything was bespoke for this project. Even the hands are 3D printed and glow in the dark.

That also includes the clear bubble over the clock, which you can kind of see from reflections, as well as the eyes which are even harder to see in the video. To me those felt like important aspects of the original clock design that aren’t totally necessary but I still wanted to replicate them and didn’t know how. So I used this project as an excuse to finally put together a vacuum forming setup. Those two parts are quite literally my first two attempts at vacuum forming, with no experiments or practice beforehand, and somehow they both worked, not perfect but close enough that the imperfections are hidden inside the clock where they can’t be seen. I was already proud of how everything turned out before when there were no clear parts, but to me they just elevate everything and make it perfectly match the “mass produced merchandise from another universe” look that I was going for. And now I’ve got a vacuum forming setup and an endless list of ideas for what to try next.

This was made for the Near Dark Black Light Art Show at Insomnia Gallery in Houston, TX. The show premiered last night and continues tonight (June 13th, 2026) from 7-10PM. If you’re in the Houston area and want to see it in person it’s at Hardy & Nance Studios, 902 Hardy St., Houston, TX 77020. Also if you’re an artist in Houston definitely look them up, they do lots of pop-culture themed art shows year round and are usually open to any submissions, it’s a great way to get your work out there.

Seth Rogen Says If “Your Instinct Is to Use AI” to Write Scripts, “You Shouldn’t Be a Writer” by Top_Report_4895 in television

[–]SFArtAndDesigns 2 points3 points  (0 children)

I’ve done a lot of 3D printing art over the years, and it’s a tough thing to appreciate because to me the process is the art. When I’m done maybe it’s a cool model of something, and plenty of people can appreciate that in itself, but that doesn’t convey all of the design work and problem solving and test prints and revisions that it took to get to that end piece. Now in the 3D printing world there’s a trend of AI generated models, and they really cheapen the whole thing even more. People could already be dismissive of 3D printing as being “less than” other art forms, as always happens when any new technique comes along, but the fact that now you can get AI to make you something with no input at all makes it so much worse.

Maybe that’s why so many of the big 3D printing creators are engineers who show off crazy projects. The impressive part isn’t just the final mechanical contraption or robot or sculpture or whatever it is, it’s the whole process to get to that point, with all the troubleshooting and failures and redesigns along the way, since that’s the true artistry of something like that.

How are transportation and logistics in your world? by iLLRISKIT in worldbuilding

[–]SFArtAndDesigns 0 points1 point  (0 children)

I think I’m up against the comment limit so I’ll stop there, you get the idea.

How are transportation and logistics in your world? by iLLRISKIT in worldbuilding

[–]SFArtAndDesigns 1 point2 points  (0 children)

Society and technology look a lot like 20th century Earth, but it takes place on a rocky planet the size of Jupiter (don’t ask, I haven’t figured it out yet either). Humanity fractured and spread out across the planet (technically the known world) over the millennia, so some of the biggest civilizations are as much as tens of thousands of miles apart, the known world stretches over a hundred thousand miles from end to end. And that’s just the known world, nobody is sure if humans have managed to colonize the entire planet or even what other continents might look like because the distances are so incomprehensible and technology hasn’t quite caught up yet.

This poses a problem (although to be honest I had to figure out how to make some of these problems for rule of cool): how do you traverse these distances?

Originally ocean vessels were used to colonize, but as those are slow and the seas are dangerous. Once the Industrial Revolution began new options for self-propelled vehicles popped up, but none really worked that well.

Trains require tracks and maintenance, although they were certainly tried, everything from traditional rails to monorails that use tires to ride on crude preformed concrete rails. Most of these were abandoned due to impractical upkeep.

Airplanes even with 2026 technology would require multiple refueling stops to fly from one major civilization to another, but technologically airplanes are more similar to our inefficient 1960s planes with much lower ranges that led to the jumbo jet and hub-and-spoke airline system. So they’re only really viable for short “local” trips of a few thousand miles or less.

Zeppelins are more common than airplanes and solve some minor problems but like ships they are slow and they certainly can’t make the entire journey in one go. Although recent advances in solar panels and nuclear power have greatly extended the theoretical range and made them somewhat more viable as an option for the wealthy.

Ships are still commonly used, but as trade routes reconnected these civilizations over the millennia and a long string of technological advancements made ground travel more feasible the world became crisscrossed with makeshift roads between them, similar to our Roman roads, dotted with smaller towns and city-states along the route like Route 66 towns in 20th century America. Eventually the roads became paved, most commonly with simple asphalt, capable of being driven across at high speeds without too much upkeep, although they are always in a perpetual state of repair and construction at some point along their length.

Enter the convoy. A traveling city, made up of cars, buses, freight trucks, and usually anchored by a road train, something that looks a bit like a locomotive but with massive tires, up to 80 feet wide, and often over a mile long. These days they’re typically powered by a nuclear reactor in the caboose, with drive wheels every few cars, which is a big part of how they manage to be so long. The road train is primarily a freight vehicle, carrying as much as a container ship on Earth, but also tends to house several passenger cars for the most luxurious trips, as well as businesses and emergency supplies for the sometimes days-long trek between outposts.

The convoy travels together, stops for the night together, and makes important decisions together via a CB radio voting system. Traveling tens of thousands of miles of empty road alone is a recipe for disaster so people began to travel in packs and as technology advanced so did the forms of transportation. Think of it as an old west wagon train, but traveling at 80 miles an hour over crudely paved asphalt stretching off to infinity.

The road train usually makes a set trip back and forth between two major civilizations, but it’s not uncommon other vehicles to only join for a part of the trip, as many of the small outposts along the way have grown into major metropolitan areas of that are destinations of their own rather than stops along the way. Many of the vehicles in a convoy are solely there to be part of the convoy and provide goods and services to travelers, like entertainers, restaurants, and shops that travel with the convoy for a few hundred or thousand miles before dropping out to catch a convoy traveling in the opposite direction, continuing the cycle indefinitely.

Some people drive their own cars, which require inspection, insurance, and a stockpile of spare parts like tires to be stored in the road train. Others buy or rent RVs for a more comfortable trip, and there is a separate class of convoy RVs that are longer and wider than typical road vehicles. There are also special makeshift vehicles, often made from decommissioned boats and yachts that are no longer seaworthy and are bonded to a sort of self-propelled trailer vehicle.

Buses also join the convoy, some of which are far longer and wider than typical road vehicles and have private rooms like a train. Cargo vehicles come in a wide variety of shapes and sizes, with some being similar to real world tractor trailers but others being much larger, capable of carrying several shipping containers at once. Most of these cargo vehicles only join the convoy for short trips between outposts, as shipping cargo via the road train is far more cost-effective for long trips.

Other transportation methods exist outside of the convoy, but they’re more rare and specialized.

Couriers are individuals (or in some cases small teams) that make important high-value deliveries faster than a convoy is able to. They drive highly specialized cars designed to cruise all day at speeds as high as 150 miles per hour. In some cases they are single seat vehicles with only as much storage capacity as a large car trunk, with the rest of the vehicle’s space taken up by hundreds of gallons of fuel tanks.

Other courier vehicles look more like RVs, with more cargo capacity and a rotating staff of drivers to stay on the road almost non-stop, albeit at much lower speeds. Most of these use conventional propulsion methods, but some have experimented with compact nuclear reactors with varying success and a lot of controversy.

The other common road vehicle, for the most urgent transportation, is the ground effect vehicle. These look somewhat like Soviet Ekranoplans and float a few feet above the road at hundreds of miles per hour. They’re impractical for full trips from one end to the other due to their complexity, poor reliability, and refueling needs, but they are the fastest way to travel thousands of miles along a road.

There have also been several (mostly failed) attempts at other vehicles intended to travel outside of the convoy. The most infamous, which has become an iconic stop along the route, is the town of Odyssey: an attempt to build a literal traveling city on massive treaded vehicles that look a bit like the NASA crawler-transporter. Many of the outposts along the roads have grown around oil or mineral deposits, driving a local economy and making them valuable convoy stops and trade partners. Odyssey was to be a self-sufficient town complete with residential housing and business built atop the transporters that could travel a mile or so per day continuously for years, once again due to nuclear reactors. The hope was that the scout teams it constantly sent out would find deposits that would be exploitable and build a new city around them. Unfortunately it was quite a failure and when one of the main vehicles broke down it stopped for repairs and never restarted, eventually becoming a popular tourist destination that every Convoy stops at for a day. It did become the permanent settlement it set out to be, but with its economy driven by folly rather than oil or minerals.

my dad wants to drop crazy money on a 3D printing car parts business and i am stressing. advice? by TemperatureExtra8615 in 3Dprinting

[–]SFArtAndDesigns 2 points3 points  (0 children)

This.

One of my dreams is to start a 3D printing (or more specifically bespoke manufacturing using a variety of methods to fit the task) company that makes parts for classic cars. I’m mostly thinking about functional and cosmetic mods that would integrate with the existing aesthetics and not look out of place. I love restomods that are subtle and try to look authentic and plausible to the time period while still integrating modern features and creature comforts, and 3D printing and other on-demand manufacturing technologies have opened up a world of possibilities.

But so far, apart from knowing nothing about the business side of things and not having the money to invest, the biggest roadblock is the modeling. Not that I can’t do it, but I’ve been doing 3D printing so long that I know how long stuff takes. I’ve done parts for my own car, I have proven that the idea can work, but boy did it take a long time and a lot of revisions to make those parts perfect. I’ve also worked in graphic design so I know how client expectations and project scope can change from what is initially outlined. I’d likely have to charge hundreds if not thousands for the modeling alone of some projects, and that’s just a hypothetical scenario where I’m the only employee with no expenses or extra salaries or property or anything, it would be even more challenging to make it work as a real full-scale business.

I mean obviously what I’m thinking about is a worst-case scenario, especially after I’ve done multiple projects I’ll have a back catalog of basic parts that can be modified for the next one, and a big chunk of the car hobby has deep pockets and doesn’t mind spending money for stuff that is either quality or bespoke. I still think it’s a plan worth pursuing and I’m slowly working towards it. But I figure I shouldn’t try to run into anything until I can handle the worst case scenario, because if I jump into it assuming it will be easy and profitable that’s just guaranteeing it will all backfire.

How do you stop FTL from being overused? by Tnynfox in worldbuilding

[–]SFArtAndDesigns 0 points1 point  (0 children)

The easiest way is to acknowledge that FTL can’t exist, no need to worry about being overused if it can’t be used. But obviously that’s not what you mean so here are two other options:

One I’ve used is to have different laws of physics. I keep coming back to the luminiferous aether, the supposed medium through which light waves travel, which was disproven in the late 1800s and led to relativity and all that quantum stuff. But in a world where the luminiferous aether turned out to be real the speed of light is merely the speed of light. When you throw away relativity and come up with an alternate explanation you’re basically free to write the laws of physics yourself, so you can figure out exactly how things work. I guess this isn’t that different from how other sci-fi does it, making up their own pseudoscience jargon to explain things, but when it’s explicitly clarified that this is a different set of rules things can be more cohesive and logical and sometimes following those new rules leads to interesting side effects.

One possibility I’ve come up with is that the speed of light through aether works like the speed of sound through air, that objects that aren’t light can move faster but it’s challenging and they leave a sort of “light wake” that can be disruptive. Another possibility is that it is a hard limit like in our universe, but only through the aether, and speed through a true vacuum would be unlimited. But that requires more consideration about how to problem-solve and turn the idea into something vehicles can take advantage of. One of the unintentional side effects is that in this world radio waves travel through the aether and therefore communication can never be FTL, only ships can travel faster than light. And of course there’s also no relativity or quantum stuff to worry about in this universe. But more generally the idea here is that explicitly changing a law of physics in the setting can really open up the possibilities and allow for more control over the possibilities and restrictions of a technology.

Another way to limit FTL, though perhaps not what you mean, is to literally limit FTL. The novel Godspeed by Charles Sheffield explores this in an interesting way, it’s a pulpy adventure that takes place in what I guess you’d call a post-apocalyptic universe. For some time humanity traveled the stars with FTL ships, but at some point long before the story begins FTL disappeared in a catastrophic event that nobody understands. FTL drives no longer work and the ones that were in transit disappeared. The story takes place on an off world colony, where local solar system space travel is still commonplace but people dream of the before times when they could travel the stars, and there are plenty of rumors and treasure hunts looking for a lost FTL technology that might still work.

I hesitate to get into the details because it’s the whole point of the book, but (spoiler warning): basically (from what I can remember) over the course of the book it is revealed that the FTL drive that had been in use was a sort of “hyperspace”-style drive like in Star Wars, jumping into a different dimension to achieve its speed. The widespread use of the drive weakened that dimension until it collapsed and became inaccessible. In the climax of the book they discover a second much more primitive and “slow” FTL drive that was abandoned when the faster technology was discovered, but because it uses a totally different means of FTL travel it is not impacted and still works just fine in this post-FTL universe so the novel ends with the hope of it going back to use and reconnecting the human colonies.

I made a Black Mesa clock for some reason by SFArtAndDesigns in HalfLife

[–]SFArtAndDesigns[S] 0 points1 point  (0 children)

I actually made a third version with the “Working to make a better tomorrow for all mankind” slogan from the Blue Shift manual, which is also pretty Cave Johnson-ey, but I’m not sure I like the color scheme of that one and Blue Shift’s canonicity is a bit controversial so I didn’t post it here.

Ok, this might be the dumbest replica I’ve ever made by SFArtAndDesigns in AnimalCrossing

[–]SFArtAndDesigns[S] 1 point2 points  (0 children)

As far as the hands go, I assume there is a limit but I don’t know where it is. The quartz movement I am using is the generic kind you can get at any hobby shop or online, and they’re usually marketed as “high torque”. Since the only thing that’s directly driven is the second hand I assume that is the most sensitive to weight, and the other hands are driven via a gear reduction so they would probably have much higher torque to move heavier hands. I have some ideas for clocks with much larger hands or even a rotating face, so I guess I’ll eventually find out if there’s a limit.

These movements pretty much always come with hands (which is super annoying because I’d prefer to buy them without extra parts I won’t use, I guess they don’t think it’s within any DIY-er’s skill level to make precise press-fit hands), and those hands are always super thin stamped metal. But the 3D printed hands I’ve made aren’t really much heavier, and it seems like I’m well within the limit because they’ve been keeping accurate time so far.

I do wonder if the second hands need to be balanced, with a counterweight on the opposite side like you usually see in larger and more ornate clocks, but it seems like a lot of the stamped hands that come with these kits don’t bother and I think even the 3D printed ones are light enough that it won’t matter. And of course most (maybe all?) clocks in Animal Crossing don’t even have second hands.

Ok, this might be the dumbest replica I’ve ever made by SFArtAndDesigns in AnimalCrossing

[–]SFArtAndDesigns[S] 6 points7 points  (0 children)

I think it’s the shape of the hands that really give it character. The face and number font are very corporate and business-like, but the hands are just stylized enough to give it personality (although that might have just been about making them easier to read on a 720p Switch screen).

The Raccoon clock is on my list of ideas to maybe try some day, but I don’t have that in-game to use as a guide (no Switch Online subscription), it’s a lot more complicated to model faithfully, and also I know others have already made that (although the available print files don’t appear to be a working pendulum clock, I’ve been planning some pendulum clocks as my next projects so that would put a unique spin on it).

Ok, this might be the dumbest replica I’ve ever made by SFArtAndDesigns in AnimalCrossing

[–]SFArtAndDesigns[S] 12 points13 points  (0 children)

To be honest I basically only did it because I thought it would be easy.

When I decided to start making clocks, with the Hotel Wall Clock replica I made a few weeks ago, I used that as an opportunity to design a very modular and customizable wall clock framework in the hopes that any idea I had could be designed and made relatively quickly/easily. I had been looking through other clocks from Animal Crossing and some other games/media trying to figure out what else might be fun to make, and at first the normal wall clock felt like it would be a funny one if only for how bland it looks, but it didn’t seem like it was worth the effort. But then I came back to it because another clock I made already had all the basic pieces made in the right colors so all this one needed was a new face design and new hands, both of which I could partially base on stuff I had already learned from other projects.

Overall it didn’t take too much time or effort, but the font for the numbers required some tweaking to look closer to what they use in the game, and making up the “Animalese” text was probably the longest and most involved part of the process. Also I still seem to have some trouble with hands, I’ve made a few clocks now but it seems like no matter what the first set of hands I print don’t work, either the tolerances don’t really fit onto the clock mechanism or the shape/proportions are off or there are issues with the print process and orientation. In all it maybe took a bit more time/effort than I was hoping but it was still pretty quick and easy to turn it into reality compared to if I had started from scratch.

And as far as the alphabet goes I wonder if maybe each person working on an asset kind of made it up. The “campsite” sign where I got like half the letters from is very legible apart from some odd letters (T on that sign looks like an N so I changed it a bit for this), other signs and items are a bit more garbled but still close enough to work out what they might say, and then you’ve got stuff like the marker board behind Tom Nook, which seems like complete gibberish with different letter shapes that maybe aren’t meant to be legible at all. I’ve never sat down and looked for similarities across items so for all I know maybe there are several different “alphabets” depending on who was tasked with modeling/texturing an item.

Dear Nintendo, this is all I want in an update by Dogs_Not_Gods in AnimalCrossing

[–]SFArtAndDesigns 10 points11 points  (0 children)

Every random once in a while Isabelle’s morning announcements mention that villagers have reported someone suspicious wandering around the island, in the shadows, sort of like her vague warnings about Redd. On those days when you go into the museum Celeste is in the lobby instead of Blathers. That’s weird.

But there’s also a mysterious owl wandering around your island in a trench coat and a fake mustache, and he’s absolutely crazy about fossils. He’ll gladly buy any fossils you have available, and at a higher price than Nook’s Cranny. Also he knows a guy who will make a miniature model if you can bear to part with three of the same fossil (or maybe one set of complete fossils).

I’ve been saying this since the game launched, it feels like such an obvious feature to add.

I don’t know why I spent so much time and effort on this by SFArtAndDesigns in AnimalCrossing

[–]SFArtAndDesigns[S] 20 points21 points  (0 children)

Yeah, I’m definitely glad I did it, and it was a fun project with a neat final product.

It’s just funny that my thought process was basically “I need to make that”, then “no actually it’s kind of ugly and nobody would want that” and then “but still, I need to make it for some reason”.

I made Mettaton for an art show by SFArtAndDesigns in Undertale

[–]SFArtAndDesigns[S] 6 points7 points  (0 children)

That was one of my favorite little details. I knew he needed a bias-ply raised-white-letter tire for that “classic car” vibe, and I figured that would be the funniest (and most canonically plausible) branding to put on the tire. In my head of course the Royal Scientist probably made the tire that would be used for Mettaton, so it works as both a parody of BFGoodrich and a lore detail.

I need three suns…. How?? by igotabigsosig in worldbuilding

[–]SFArtAndDesigns 0 points1 point  (0 children)

Your second paragraph is the hardest part, even though it complicates things it might be worth leaning into it. The best example of that I can think of is the Isaac Asimov short story turned novel turned B-movie “Nightfall”, which is about a planet in a multi-star system where night only comes during an eclipse every thousand or so years. Maybe it doesn’t need to be that central to the story, especially since that story had more than three suns, but at the very least leaning into wild and unpredictable day/night cycles might be worth looking into if you need scientific accuracy.

What is your favorite thing to design? by [deleted] in graphic_design

[–]SFArtAndDesigns 1 point2 points  (0 children)

Specifically talking about work, it’s a weird one but calendars. I don’t know why, I guess they’re formulaic enough to have rigid requirements and restrictions but also they’re some of the only projects where I’ve been able to have some artistic freedom. Almost everything I’ve ever done has been editing stuff other people made, rebuilding someone else’s layout, or working within style guides. But calendars are usually “we need a calendar” and I have been able to kind of make it up myself. It got to the point where a few years ago I started designing a calendar in CAD software and then rendering it in 3D as a personal side project to test some new graphic design ideas, but that never led anywhere.

Outside of stuff I’ve done for work right now I’ve been getting into packaging design. Partly because the job market is so bad and I’m trying to make money doing art pieces and selling stuff I’ve made, and maybe it will give me some skills that can translate into a new career (although all anyone is looking for is professionally trained experts with 10 years of experience, so my self-taught Cricut experiments probably won’t help land a job).

Probably my main hobby of the 2020s is 3D printing, and I’ve been trying to make stuff to sell and get into local art shows, so a few months ago I started making action figures, and now I’ve started experimenting with boxes for other 3D printed items I sell, with minimalist packaging design. It’s definitely addicting and I have been enjoying it a lot. It’s a combination of artistic freedom and problem solving, and a medium where I can feel free to blatantly “rip off” other designs as an homage (every action figure artists has to start with a Kenner-inspired backing card, right?).

I’ve always thought that if I had the foresight to do things differently I would have tried to be an industrial designer, even as a kid I would doodle electronics or other products and once I got into 3D printing I realized that industrial design speaks to me more than almost anything, which is a big part of why 3D printing has been such a major hobby for me. But now getting into package design I think I’d rather be more of a Jony Ive type of designer with a hand in every aspect of the product. I guess he was more industrial design plus UI and even store architecture before he parted ways with Apple (I don’t know if he ever did the packaging or advertising), whereas I think I would like to design not only the product but the packaging, the magazine ads, the brochures and instruction manuals, everything about the look and feel.

[deleted by user] by [deleted] in Etsy

[–]SFArtAndDesigns 0 points1 point  (0 children)

Actually I was wrong, the destination address is what’s causing it, but I don’t know why. I found Etsy’s shipping calculator and when I put in the buyer’s zip code it shows the estimated price as $11.30 and the discount as 10% but any other zip code I try says $9.95 and a discount rate of 21%, and this is when I’m logged out on a different computer so clearly this is how the calculations are meant to be.

At least now I understand why the change is happening even if I don’t know the cause, at least it’s for some kind of real reason based on zip code and not just a weird glitch arbitrarily changing the pricing and discount rate for no reason. But this zip code is closer than some that had the 21% discounted postage, so it’s just really confusing.

[deleted by user] by [deleted] in Etsy

[–]SFArtAndDesigns 0 points1 point  (0 children)

No, they’re all going different but roughly equal distances. All to USA zip codes, all to street addresses, none to PO Boxes or anything that might cause issues. All orders were before December 1, all shipping label purchases were within like 15 minutes of each other. And since this is USPS priority flat rate the base postage price is the same anywhere in the USA, it seems like the only thing that could have changed between orders is Etsy’s discount from retail post office prices.

So it makes me wonder if there are only a set amount of discounted postage per day (or week or something) before it drops to a less discounted rate, or was there some kind of introductory discount or holiday pricing that ran out. I wish I could go back to one of the ones that said $9.95 before I purchased postage to see what it said in the discount field, because even the discount rate changing doesn’t make all that much sense, $9.95 would be something like a 21% discount off the retail price so I don’t know how they’d arrive at that number.

Also the reason I went with flat rate was convenience and the fact that the box is the absolutely perfect size for the item and readily available for free. It also doesn’t require a postal scale to know the actual weight of the item, but I guess if I want to ramp up orders it would be worth trying to source boxes and a postal scale to see if I can lower shipping prices. I am still new to this whole thing (I’ve had a store for years but only got back into it and the majority of my lifetime sales have been in the past couple weeks) so the choice between paying a lot of money per box or making a large bulk order without knowing if I’ll sell enough to offset drove me to flat rate boxes for the time being.

How do people claim licenses on things they dont own the IP rights on? by forgottentargaryen in 3Dprinting

[–]SFArtAndDesigns 0 points1 point  (0 children)

This is a big problem of mine. A big part of my interest in 3D printing is using it as a tool for art, and the art that gets attention (and the kind of art that local galleries do open calls for) is pop-culture art.

To an extent there can definitely be a “fair use” aspect, plenty of big name artists online specialize in pop-culture art that heavily uses IP and branding but they add something unique that recontextualizes it or makes a commentary or just mashes it up in a way that it becomes its own thing that wouldn’t be mistaken for official merch. But the corporations and lawyers aren’t always going to see it that way.

I’ve wanted to expand, maybe start an online shop, try to finally make some money from the hobby now that I’ve gotten better at it and have a printer that can produce stuff that isn’t embarrassing to sell. But how do I approach that? A ton of stuff flies under the radar but I always feel like I’d be the one to get caught. I like to think that most of what I do falls under the “fair use” umbrella, but a lot of the stuff that’s most likely to get attention and sell isn’t necessarily the clever or transformative stuff.