 And welcome to the show, it's me, John Park, and this is John Park's workshop. Look, my hair's all shiny. New product? I don't know why. So yeah, here I am in the workshop, and it is time for another John Park's workshop where we'll get together and build some stuff and talk about some things and maybe go over some projects past and present and future. As you can probably tell, I'm in front of my retro-reflective green screen because I'm so excited about the retro-reflective green screen and I had it set up, so why not? And actually, I think it might be kind of a cool way to show some work I'm doing today inside of a CAD program without having to do sort of pictures and pictures. I'm going to do a bit of an overlay and see how that goes. And I also want to say, hey, thanks. Thanks for coming by and watching this show. To everyone who's over in YouTube and Discord, I'm watching those chats. And I will not be watching the chats over in Twitch and Periscope and LinkedIn and Twitter and all those places, it's just too much. But if you want to get in on the chat, head to Discord. It's adafru.it slash discord. And I can take some questions in these chats, however. Also take a comment. I just found out my mic level is a little low, so thank you, C Grover, for pointing that out. I'm going to boost that a little bit. Hopefully that'll sound good. Virtual Lars. Yeah, I think that's him right there. One question I see, Saltima asks over in the YouTube chat, well, he talked about the reflective fabric screen. Yeah, I will. I actually wanted to go over a couple things about that. I know this was a project from last week, but since last week I've put out a learn guide. I wanted to go over a little bit of info in there that I added, as well as the design of the device that clamps the LED ring to your camera. Hey, I'm just noticing, since some lighting changed, I got to fix my chroma key. Let's see if I can fix this without breaking too much. That's a little better. There we go. I was seeing some little buzzy bits there. So we'll get into that, though I promise. Before we do, however, let me take care of some business. Here's a bit of business. Did you know that we have a jobs board? Yeah, that's right. There it is. That's the Adafruit jobs board, and you can, here, let me do it this way. What's a good way to do this? Is this a good way? How about that? Sure. I like that. I'm going to be messing around with camera views today, sorry, I apologize in advance. So this is the jobs board. If you go to jobs.adafruit.com, you will see we have a free job board with positions that are looking to be filled as well as people posting their resumes and info. So head on over there if you're looking for a worker, if you're looking to hire someone, it's entirely free. All you need is an Adafruit login, an email login, and once you're in, you're in. So if you want to look for some worker, if you want to hire someone, you can head over here. Here's some positions right here that you can see on the board, as well as the little UI there where you can post a job, view the jobs. If you're an employer, you can go to your little dashboard, we can browse skills offered. Look what happens when I click on that. Then we see some people looking for work and some of their info there, what type of, we have a lot of embedded people, engineers, developers, software developers, art and design, lots of good skills on offer there. So that's the job board. It's at jobs.adafruit.com and I recommend that you go check it out. All right. Next thing I wanted to mention is I have a product pick of the week show that I do on Tuesdays. It looks something like that. The look of it changes every week as I get to have fun tapping my inner weird creative vision. And on the show this week was this AW9523, which is a 16-pin input output IO expander for digital in and digital out. As well as, you can use those pins as 16 constant current LED drivers. And I'll give you a little recap of the show. Here we go. AW9523, 16-pin GPIO expander on I squared C and LED drivers that use constant current. 16 pins arrayed around the top and the bottom. There's I think 11 on the top and five on the bottom there. And all those pins are in pairs because they each have that V in for the voltage. 16 little three millimeter red LEDs plugged into the board. And as you can see, I'm doing some different little fades and lighting them in some sequences, turning them on and off. Right now they're getting brighter, brighter, brighter. And then they'll drop down. Use the little stem of QT connectors. You can plug in up to four of these on one microcontroller. And then you'd be able to run buttons, LEDs, galore. That's the product pick of the week this week. And by the way, I think that that product is in use on an upcoming project from Liz Clark and the Ruiz Brothers, which is the MIDI fighter that they're making, kind of like a MIDI lover, they said, they're lovers, not fighters. But it's a 16 button arcade button clip launcher for things like Ableton Live. And it's got arcade buttons that are lighted. And I believe they used that IO expander to do the LED driving in that. I'm not sure. They may have used it for the buttons as well. I haven't checked out the, I don't know if the guide's out yet, but it's close. So go look for that. Let's see. What's next? I wanted to take, okay, so some questions about the retro reflective screen here. So I'm using it right now. If I turn off my LED ring, you can see this is what I'm standing in front of. This is the retro reflective fabric. And when I turn on my LED ring, it's lighting that screen really saturated, really brightly with green. Not lighting me with green, however, which is one of the nice things about it. And it's, like I've said before, it's fantastic because usually in a very small space like this in a close space, these kinds of shadows that I've got some key lights on me, these kinds of shadows cause problem with a fabric green screen or painted green screen. So you end up needing to light the background separately from the subject. And it's really difficult in a small space. So I wanted to show, I mentioned this last time, but I wanted to show some images from the guide. So I'm going to, let me pull up, first of all, turn this back on here. I'm going to pull up my learn guide for this, let's jump over to the Chroma Key Essentials and let me in small in myself here, look, there's small me, yeah, that's pretty good. So this is the guide. If you head to learn.aderfruit.com, you'll see it in the new guides section. I've got some little sample videos there. And if you take a look at the Chroma Key Essentials page here, I talk a little bit about some traditional chroma key, so green screen and blue screen. And here's some examples of some different traditional green screen effects. So this is actually a musical that was done by my son's high school. Here's my son with his puppet. This is the alpha channel that I've pulled or the mat that I've pulled using that green screen. It's traditional green screen. And you'll notice that green screen has some hot spots there where I've got side lighting. I'll show you what that looks like in a second. But I've lit him from angles that are sufficient to keep him from casting too much of a shadow on the backdrop. You can see his shadow on the ground there, which works out okay. So this shows the shot on the green screen. This is after I've done the offline composite pull of the green screen, using a plug-in inside of Premiere is where I did it, but most applications can do this sort of thing. And this is what that looks like with just the subject and no background. And then this is the final composite in this apartment that was done for the show. If you take a look here, this is pretty much the setup we used, although I was doing that first set of shooting in his bedroom. This is actually in a larger space in the living room. And you can see I've got to use up a lot of space there in order to get the subject closer to the camera and not casting shadows. And so like I've said, this backdrop I'm on here, I'm right up against it. So you can imagine it's great for small spaces. This is also great for this type of thing if you're doing conference calls or if you're streaming, if you're doing live streaming of games, let's say, and you want to do a chroma key, this retro reflective background is pretty great for that. Now some other stuff I go into here is some particulars about the way this retro reflector works. I link to a couple of videos or a video at least in this scotch light from 3M website, which talk a little bit and there's some diagrams and things about how this particular fabric works. It's got thousands and thousands of tiny glass beads, which act as refractors. So a beam of light, even if it's coming at an angle oblique to the surface, it is refracted towards a reflector, like a mirror like surface, and then re-refracted right back at the viewing angle. So that's kind of the magic of retro reflector. It can also be done with box reflectors, which are three corners of mirror like surfaces. That's what's in like a traditional reflector on a bicycle. Anyway, lots of good info about retro reflectors. Here's a little demo I do using this ring light, pointing it at a reflective screen and then compositing the skull over there in front of Lady Aida there back in New York. Then the other thing I want to talk about was this mount that I built. I didn't have this last week or I had like a early version of it. So I designed this, let me go down shooter actually on this so you can see it well. So I designed this so that it will attach to a wide variety of lenses on a camera that uses external lenses. So the way I've done this is with these four adjuster blocks that just grip the lens from the side, the barrel of the lens. Then I have a silicone band here as an elastic band or rubber band to pull those tight. So you can see just kind of grip those, put them over the lens and then let them squeeze in and it does a pretty good job. You can of course do things like having a threaded adapter, like a filter adapter that you could screw this into, but that would be for a particular lens and then you might need step-down adapters to deal with other lenses. So I just wanted to go for something that will work on a couple of different lenses that I'm using and this will work pretty well even on things like, let me bring back up the guide here for a moment. This will work pretty well with external webcams. So here you can see this is the build, this is it on one of my cameras, got some details of putting it together, here's the 3D model I built and then way down here at the bottom you'll see this is one of these C920 webcams from Logitech and you can see there I've got it adapted to that pretty well, the four little adjusters, I've got it turned 45 degrees but using two of those elastics I've got it stuck there pretty well, it's not coming off and then if you're just using like a laptop lid you might be able to just hook these blocks onto that depending on the thickness there or adapt it otherwise, use a clothes pin, there's a lot of ways you can get on there, rubber bands and so on. So that's the follow-up I wanted to do on that. One other thing I wanted to do actually is kind of a fun trick with this is that since it's this magical retro-reflective material that works at pretty much any angle until we're getting close to glancing angles, you can move it. So I'm grabbing and moving the fabric and until itself occludes, until I cover itself with itself and block the light, I can move this around. So you essentially have this sort of invisibility cloak type of thing here where we can block things and unlike a traditional green screen, even though there's a bunch of little self-shadows and stuff here, it's not causing a problem. Up here you're seeing the backside of the fabric actually, so it's inexpensive stuff, you could cut a hole in it and do all kinds of fun tricks. They make clothes with this, they make accessories, so it's available, which is terrific. Someone commented yesterday that they saw the guide I had put out, I think it was Adam Wolf said, saw the guide and figured, oh, that's cute, it's probably really pricey for that material and then he looked on line and it was like $9 for a yard of 39 inch wide material, so it's pretty inexpensive. Alright, I think that's gonna do it for my recap of some of that green screen info. Yes, as Altima says, when is Adafruit selling this fabric? That's a good question actually, I think Lady Aida is kind of excited about it and was talking last night about getting some for her setup that she uses when she does the desk of Lady Aida, she uses a green screen, so maybe they'll get excited and order some. That'd be nice, because right now I've mostly found it's an eBay seller kind of thing. It's really easily available to the public, it's not like 3M markets and sells this along with their command hooks and things like that, so it's kind of a harder to find thing, but not bad. You can look on eBay, I think I've seen some resellers on Amazon as well. Alright, yeah, John Park's Workshop is hidden behind John Park's Workshop, it's true, it's kind of, well it's not too much different back there, it's just a different angle of the same place, which is absurd and I like it. Let's see, next up, what are we going to talk about? So I want to launch a new project, so let's go back to the down shooter here for a second, and that'll work right there, we can see that way. So what I have here is one of our brand new Feather RP2040, so it's the RP2040 chip, the same thing that Raspberry Pi built and put into their Pico boards, so we have a Feather that has that chip on it, and right now I have it plugged into one of these 3.5 inch TFT touchscreen displays, it's a resistive touchscreen display, and you can see here I've got some mock-up code running right now where when I press, oh, what just happened? The camera just disappeared, oh boy, that's pretty funny. It's actually live right now and working as a camera switcher, so I just switched away from my camera, yeah, that's funny, okay, I can't really do that without it disappearing every time, but you'll see now, I'll just fight the thing and press it in software. So you'll see right now, the second cam B is lit up, I'm going to press that first button, and now it's switched to cam A, and if I hit C it'll go to cam C, and that's actually the one we're supposed to be on, so if I press that I should be able to, yeah, press that back. So I've kind of given away, what am I doing with this thing? I want to create a camera switcher with it. You've seen, I've built these before out of things like little mechanical keyboard button boxes and arcade button boxes, but I kind of like the idea of having that sort of stream deck if you've ever seen, there's a product called a stream deck by Elgato, which is used by a lot of streamers and gamers as well as other people who just like to have a very versatile button box, macro switcher box, and what the idea here is is we're going to have some buttons with little icons, maybe four across and three down, maybe fewer, probably not more, because it's not a huge screen, and we'll be able to create icons for those so that I can do things like switch between camera views, change audio sources, bring in graphics, as well as have it switch into a mode where it just becomes an entirely different set of keys for something like Photoshop shortcuts, or if you're using music software, or if you're using some CAD software, and in fact, let's, let me jump back to my browser window here for a second, and I'll just show you the kind of thing I'm talking about, stream deck, I'll just bring up an image of it, so it's these kinds of things, right? So these are, they come in different sizes, oh, here's a cute little three by two one, I kind of like that one. And so these have essentially a screen, there's a single screen, it's not a bunch of little LCD or OLED buttons, it's actually one screen underneath a layer that has clear buttons, and I'm not sure if they're capacitive or resistive touch, I'm sure people have done teardowns of these, but you can change the graphics, which is really just one big graphic, and then it has sort of little hotspots for, for the touch so that it associates a button with a graphic and then sends a command. So that's the idea behind what I want to build here with this thing. And a couple notes about this, so this, this is this TFT that has a resistive touch screen. And I just start playing around with the basic libraries for it last night to get this much working, but I'm having some issues with it, so we're actually calling in a ringer, and you may know FOMI guy from our community who does a lot of work in CircuitPython. FOMI guy is going to help me out and co-develop this project with me, do a lot of the hard work, which is great. And there are some, he's very versed in some of the display I owe things, text things, so I think this is going to really be a sort of premier project when we're all done with it. Oh, Hugo mentions, Lady Aida has done a tear down of the stream deck, that's cool. So the idea behind this, I think, so Todd's saying I should call it the stream park, I think I want to call it the touch deck, but thanks, Todd. So I'm thinking maybe of doing a 3D printed or laser cut overlay that kind of cuts out our physical button space so that it's a little easier to hit the right things and not, you know, accidentally fat finger it over to the sides. I don't think it'll bother with like the acrylic button buttons, I think it'll be enough to just have sort of a little grill or grid that we touch it through. And what I wanted to do is show you how I'll go about building the case for this. Johnny Bergdahl just jokingly, slash rudely, says, FOMI does all the hard work, John is just the pretty face. Yes. No, actually, so what I wanted to show today is some of the hard work that I'll be doing is building a case for it, designing sort of an enclosure and a stand for it. And the way I go about this is not necessarily the way you'll go about it, but I, because I think a lot of people should be using something like Fusion 360 for this, but as you've seen before, I like to use Rhino, it's something it's a piece of software I'm really familiar with. And so what I wanted to do was show you sort of the beginnings of how I'll work out some of the dimensions and model for this, starting from the product itself. So there's a few options here, I'm gonna move my camera up closer. So there's a few options here for getting started. You could go ahead and, sorry, I'm gonna focus this camera real quick, if it'll let me. You could go ahead and grab the eagle files that we have published. So there's a board file and you could grab that and maybe export DXFs to get started. That works great. Sometimes, however, you'll find there's hardware that does not have a published file for it. So what I'll generally do is grab my calipers. So I've got some nice digital calipers here, but even really inexpensive digital calipers would work great for this. And what I'll typically do is go in and take some dimensions. And so I'm gonna do some of this in real time here. Some of it we'll talk about and not do because the show would go too long otherwise. But what I'll do is I've zeroed this out and I'm working in millimeters and I'll say, okay, this is 85.5 millimeters by 5566. And actually, I like to write those down as I go because I will immediately forget them even before typing them in. Or I'll take one dimension and type it in. So I've just got a notebook here. So let's let's redo those. So vertical I've got, we'll call it 56. And I'm calling that vertical in this horizontal, just because the orientation we're going to use. And we'll call this 85.6. And then what I'll also do is right now I'm going to figure out these holes here, these mounting holes, because those are going to be important. So again, I like to zero this out to make sure we're getting a good measurement. And then I'll go in with the calipers here and grab that hole, which is about three millimeters. So I've got three millimeter holes. And they are in these little cutouts, which are 5.2, 5.15, 5.15. And I can figure out the thickness of this a number of different ways. What I'll do is just find from one edge to the other edge of that hole, the size there, I've got 83 point, we'll call it 83 point, I'll just grab that 83.29, 83.3. It's from hole outside to hole outside. What did I say that was I should have I should not talk after I write a number down? 83.3. Okay, 83.3. Okay, so that's actually more dimensions than I'd normally take before I start building stuff just because I want to see it as I do it. So a couple of things. So Rhino, I actually, I've used it a long time. I haven't used Grasshopper, very long Grasshopper is a module inside of Rhino and I haven't used it in a while. I need to relearn Grasshopper. Grasshopper is the sort of add on to Rhino that turns it into more of a procedural tool. Otherwise, Rhino doesn't really have a history that you can go and like read mention things after the fact, which is why I say most people don't want to use this. It's expensive. It's commercial software. You can get away with some free CAD, Tinkercad or Fusion 360, really probably what you should be using. But I'm going to show you how I do it in here, because some of the things I do will apply. So I have a scene here, the working units are millimeters, which is what I like to work in. I'm just going to rough out that those first dimensions. So it doesn't matter where I make this, I like to kind of start on a grid, but not the origin. So I'm going to set down a point and then Rhino is real friendly for just typing things in. So it wants to know two points. I'm going to type in 85.6, which was the width of it, and 56, which is the height of it. And now I have my box. So if this were Fusion 360, you would lock in those dimensions and then you could go and change them later for a different board and do a lot of great procedural stuff. I'm not going to be doing that. Now I'm going to get my these little ear guys here. Actually, I didn't take the the height of the height of that there, which matters. And it's 66 millimeters apart there. So I'll write that down 66. And I'll sometimes I'll just set in some dimension lines for myself. Like if I just make a 66 millimeter long line right now, and I can snap its midpoint to the midpoint of the other object. Now I have sort of a line I can inference some things from, which is helpful. And you can go and kind of create these sorts of construction lines if you want. So I know that my intersection point for the top of this little dog ear is going to be here. And in fact, I'll build it that way. A lot of this is kind of can vary just depending on what I'm feeling how I'm feeling like doing it. So the the sort of width I said was 5.3. So I'm just going to make a duplicate of this. It's 5.3 millimeters that way. And so I can go ahead and grab a copy of that. And had this way, would I say 5.6 millimeters? No, 5.13. Okay. And I can get rid of these little dimension, you guys. Oops, get rid of these. There we go. So that represents the top of those little dog ears. And I said I have a three millimeter circle there. So I'm going to go ahead and create a two point circle. Again, I'll just type in three for three millimeter. I can take this and again, I can center it on that hole. I think it's centered on that hole. But that's actually something I should I should measure in a moment. And I want to center it between these guys. I don't have a line here. And now I do. And I can take this and start to move it. And as I move it, I can sort of project from its center. Let me turn off the grid snapping here for a second. I'm going to grab a center snap for you. And then I'm locking going in this direction. But for a moment, I'm going to grab that midpoint. And now it'll give me an intersection of those. So that now that's centered there. One more thing I'll do at this point is radius these and actually, I've never come up with a great way to to measure the radius with calipers. So some of this is going to be a little eyeball ish. I'll kind of go to the corner and looks like it's about one millimeter. So I'll try making a one millimeter radius or fillet here. So I can just type in fillet. And the radius is already set to one. So I'll pick here and here. No, that's definitely not it. Alright, let's try three. It might be three because of the size of that circle. That would make sense. You and you. You know, that's a little too much. So it didn't like it. So you can see here again, I don't mean to I love Rhino. I don't mean to bash it too much. But this, as you can imagine, if you're doing this infusion or something, you would you probably have a little slider to go in and start adjusting that radius by eye. I could go in measure some things. Let's do two and a half. And this actually doesn't matter too much for what I'm doing because I'm just using this as sort of there we go as sort of indicator of how I'm going to build the the rest of the design. So now what I'll do is I'm going to duplicate that. And I'll just type in mirror, which has tab completion. I'll go and mirror a set there. I'll go and mirror a set either from the center of the midpoint. Cool. Last thing I'll do is make this into one nice curve with a curve Boolean, which just sort of joins them up into a single curve. So I don't have pieces and parts flying around everywhere. Oh, I forgot to tell to delete the the stuff I don't need. So let me undo that and redo that curve Boolean, grab everyone, repeat curve Boolean, tell the options to delete everything that's involved. Do that again. So if you're not familiar, I keep talking about things like fusion 360 and procedural or parametric modeling. Essentially, each step that I'm doing here, you can kind of think of as something that if you had a history of doing it, you could go backward and forward through the history. That's what I should be doing using grasshopper in here. That's what you'd be doing inside a fusion 360. And it'll allow me to go back and say, Oh, you know what, I want those circles to be five millimeter for whatever reason. And the things that are dependent on that would update. So if I redo this sort of thing, maybe I'll do it in grasshopper sometime for you, then I would be essentially building nodes of data that flow through operations. And you know, the beginning thing would be some dimensions, telling some lines to get constructed, telling a circle to get constructed, telling some lines to chop each other up and join together, and so on. So each of those are nodes with data that can flow from from one node to the next. Alright, so what I like to do at this point is create a 3d model from from the 2d so that I can visualize the thing. So right now, essentially, all I'm making is a stand in for this, but that I can extract lines from what I do so that I know where I'm going to put the parts of the model or screws and nuts so that I can can build the thing up. construction of it may end up being somewhat similar in in a lot of regards to this thing I built in that it's going to be a three dimensional 3d printed thing with maybe some parts that are connected using screws. It's a technique I like to to use and it's fairly straightforward to do and allows you to not create difficult to print stuff. So so one of my goals is to make the printing part easy. So if things need to go together, they, they get screwed together typically. So so what I'll do with these I'll actually extrude all these curves. And the height of this thing will make it. It's probably like a one and a half millimeter board. And then I'll put the screen on top of it. So yeah, let's do one and a half millimeters. And again, you'll have to pardon me, I have some old fashioned ways of doing stuff here. I'm sure there's better ways that any Rhino people are looking at going why you know that way. I'm just going to extrude those circles a little extra bit and cap them. I'll show you this in a shaded view. I'll cap this. And then I'm just going to Boolean, which means either join or cut out or intersect those different Boolean operations. But I'm just going to say a Boolean difference, which is going to allow me to chop these holes out of here. Again, you can do things like sort of pseudo proceduralism where you save copies of things in your different layers. So right now I haven't I haven't worked with layers in here. But if I if I take, if I went back a step and put the cutters, the things that are cutting out on one layer and the object that's getting cut out on another, duplicate that, I can kind of keep all those pieces and parts and it's helpful if you're if you're going back a little bit but not not in the same way as a procedural creation. So that's that's the board I should probably save at this point just in case something bad happens. Do TDO one. And then the dimensions on the screen so the screen is actually edge to edge right over the PCB. So that's easy. It's I'll just check its depth here with the calipers and it's a four and a half 4.6 millimeters. So kind of go back to this top view here. I can create a box corner to corner. That's kind of an easy way to do this. So I'll just go to let me turn off the center snap. So I'm gonna say right there to and you can see I'm kind of pausing over things that I want to project these inference lines from. And then the last dimension while so while I'm while I'm creating it I've just created the width and height or yeah width and height. Now I need to create the depth for that one. I'm just going to type in the value that I just said. So 4.6. And so that's my screen sitting on top. And now what I'll do is if I want to create a stand for this thing maybe I'll play around with the angles that's going to be built at. So one thing you can do is go to a nice rendered view here for a second. We can take our object here and sort of start rotating it up. Nice thing the render view puts a shadow wherever the floor is so it's easy to see stuff sort of in 3D space. You can just type in values. So if I say you know what I think I want this at like a 33 degree angle. Great. That's what I'm going to use 33 or 45 or whatever it is. Of course you can make a stand that does graduated steps with little things to click out or where onto but that's I think I'll just make kind of a solid thing similar in a lot of ways to this this type of stand that the Reese Brothers made that I have a mag tag sitting on. I kind of like that that type of design. So let's go back to a top view here. If I'm doing that what I'll do is probably take I'm going to take these models and put them on their own layer now. We'll just what did I say did I put those on layer one. So now you'll see I've got my models sitting on their own layer. I'm leaving these curves here up actually build a layer for those and usually you'll name your layers so you can maintain some organization of what you've put together. So here you can see I've got a different color for that layer here on layer to what one thing I can do is maybe I like that that shape and I want to keep that sort of dog ear shape maybe I want to build something that this sets right into so basing the next step on those same lines that I built the board from that's kind of why I do that why I put that board in there. I think what I'll do here is again I like to create something based on some of the existing geometry so I'll go in and snap to some points. I can this I can eyeball I can measure I probably do something like this and then I'll snap that so I'm going to turn on center snapping and now I should be able to snap this to the points that exist in the model already. So this is now going to be sort of the thing I screw the the device into but I've got some stuff on the back to worry about right so at this point I'll I'll save you I'll spare you from me measuring that but I'll pretend I went and I think I think these are actually two inch by one inch and one thing that's nice is that you can work in multiple units in here so let me I will verify that actually before I make that so let's look the width of that is point nine by two and there's a little extra space there for some other stuff but if I wanted to build let's say a one inch by two inch box to chop out of there a curve to bully in there again I'll just start a curve kind of anywhere and then I'll move it in place and so I'm going to say two but I'm going to type in a quotes for inches and then one whoops and one so that's going to be cut out for my feather and then I should really measure I don't know if it's on the center of this thing or not I should measure where that how far that is from each edge so from the top what I'm calling the top edge that is point point six so again a lot of ways you could work I like to there's one way I like to do this or just sort of snap it up to the top edge of this and then I'll move it negative point I think it's actually point seven inches so now I've dropped it down and this is going to be a cut out so I want it to be a little bigger than the object so this way the feather just kind of hangs out out the back there so I can go and do a little sculpting like that and then I'm going to take these two curves and do that curve Boolean again I said I'm going to pick these two curves Boolean there we go good so now I have something that I can extrude into maybe a three millimeter thick object so that covers both acrylic if it's going to be a laser cut thing I use three millimeter acrylic a lot or a 3d printed thing that's thick enough to to not get super bendy but not take too long to print we can go in and round some corners so I can do it all kind of at once I can say fill it corners the radius it's asking for I'm going to just do like a universal how about three millimeter or what were these guys two and a half let's do that everywhere I like consistency so now you can see my curve has some nice little roundiness to it and I'll go ahead and extrude this so let's go to a perspective view where it's a little easier to see what's going on I can hide this let's put this guy on his own layer so we'll move you back up to the default layer a lot what I do with this is just layer management and we'll hide that one for a moment we'll turn back on the model I made just to kind of get a reality check against the model that looks pretty good and we'll go ahead and extrude it down that way so I have to move it as much extrude curve say negative three and this one I don't need to carve stuff out of it so I can just cap it immediately and then I'll go to a right view and this one doesn't need to be snapped perfectly because these are not objects that are being modeled together one is going to get screwed into the other one so having a little space there is fine or you could do some snapping but it's I don't find that to be vital in this case so again let's let's take the whole thing and rotate it up just to oops I missed a part again this is just for looking at its sake looks pretty good looks pretty cool and so if this is going to be let me let me undo that if this is going to be a sort of all-in-one printed piece like this and not have moving parts or connectors there's probably an angle that can't go beyond without being difficult to print but I'll try it I'll try it at this 33 magical 33 degree angle I was thinking about so let's take we can take all of this all this stuff and we'll do the the 33 degree angle rotate on that let me hide this top curve and I'll move the piece that I'm keeping to a different layer let's put you on layer 4 is not used okay so now I'm not looking at that curve hanging out there let's go to shaded view that just shows us some of our pieces and parts oh I do not want these these false colors on here so I'm just gonna set everything to black which gives us black lines and a tan tanish grayish surface I no longer like that angle actually so let's take all this let's go let's see another if I want to go to 45 I want another 12 degrees oops not 23 okay I'm liking that better and let's lift that up just to get it above the origin there which makes it easier when you're looking at a grid view okay I kind of like that let's do that so I haven't really thought too much about how how I want the the stands to look from here but I think it might be fun to do let's see how much time it might be fun to do a the stand screws on a couple legs like a little triangular leg set instead of trying to print one 3d thing it actually then could be fairly straightforward to to make it with other methods if it's not a weird 3d shape or you could you could do both so I'll leave space for both of those options and the way I'll do that is I'm going to come into this right view here let's hide the I really should start naming stuff let's hide the the model of the the tft display and now this is the the stand base that we're working with and what I'll do is I'll start again creating construction lines so I'm just going to make some curves that I can use to to sort of visualize things right so that's that's parts of my base and if I move those again I'm going to put those on to their own layer let's see is anything on the default layer at this point I don't think so maybe oh yeah just that one curve that's okay I'm going to set that active layer so things I do happen on that layer we also lock layers and make them semi see-through and stuff but what I want to do is create the the intersection of these points so let's turn turn that off so I just want to yet another line that's going to connect the dots cool and again I can either slice stuff or do a curved Boolean I'll do that curve Boolean just makes my triangle could have just drawn a triangle and had those points but that's not how I went about it and then if I if I bring back my model layer for a second we can see I'm going to want some width on these legs that allows the holes to get screwed through so let's or or just attach it so let's bring in let's look at everything at once now I'm going to go to top view here I'll snap this to the existing model closer there so that snapped to the intersection and so you know I've like I've said Rhino is interesting it's got a lot of very it's very handcrafted hands-on type of thing allows for a lot of creative decision making as you go how you want to build stuff what you want to snap stuff to it's very I use it in kind of a straight ahead manner often that bites me because then I need to go back some steps when I when I don't like something but that's kind of the nature of it and again I hope I'm not doing Rhino at this service if there's better ways of working that other people use but this is this is how I do it so now what I'll do is I'm going to make a duplicate of that let's say and maybe I can do a cool thing here because I got a request from someone about making things like boxes so what I'm going to do is I'm actually going to extrude a little surface those you can loft these two surfaces or just I'll do that just loft between these two surfaces or these two curves to create a surface that's good oh what's it doing why is it thinking is it asking me something oh oh it's over there sorry yes I like the default loft options it popped up a window I didn't see so what I can do is I can cap this and we can either carve some holes through there bullying out some circles we can make little indents there was a command I was going to use and now blanking on it because it's fairly new to me what the heck is it called oh darn I should have I should have prepped for this because because there's a cool new way I learned that that I hadn't used to to create sort of a semi hollowed box what is it called it is shelling maybe let's let's try that so I'm just gonna type in shell that's one of the nice things about Rhino is that all the interface you can just type stuff you don't need to know where things are you can even just guess at words and it kind of auto completes select faces to remove from closed poly surface yeah I think that'll work so if I wanted to make like a little carved out sections I don't know why but I'm gonna do it right here let's say I can set the thickness of walls so let's make again let's do three millimeter thickness oops three done and so you can see it created a nice it did it's not like I carved out it's not like I had to measure three millimeters back from the wall and do offsets you can't normally scale things uniformly when when you're trying to do this sort of thing so I'm glad to remember because that's a really handy new feature especially for making things like boxes I used this technique on the on the keyboard model that I built recently so oh you know I I'm sorry I haven't checked the chat let's see see Grover says perhaps a mounting bracket for haptic feedback motor that'd be really cool yeah having like a little buzz would be great so some some legs would be nice yeah so that's that's where we're at now so yeah sorry I didn't look at the chat I got I got deep into what I was doing there so at this point let's let's say we're gonna do something like this I might want to merge these models into one and try 3D printing that probably face down and let the triangles come up from there I could also do these screw holes so that's that's the last thing I'm gonna do here I think it's the last thing we'll have time for if we if we want we can take some circles so what I'm gonna do is I'll just create some new circles or some let's do some cylinders I'm gonna do some cylinders will they let me no I'll do circles and then extra extrude them so I can set a circle even though things are kind of not planar right now let's see it should let me find the center it might not let me get down here and look at this one I'll do this one actually let's take this curve we could have made that as a cylinder and now we'll do a cap on that what I'll do is I'll move this by picking the move command picking the center of the cylinder head up to the center of this circle it's not liking that at all come on you know what I'm trying to there we go and let's go to wireframe so we can see that or we can ghost it oh you know I have planar turned on it's not gonna let me is it all right I wish I had done this a different way sorry about that so let's see I'll try extracting that curve instead to curves curve from object duplicate edge pick an edge duplicate it and let's see if I can extrude that go turn shading back on and yeah I don't have this is a this is not a great way to do it because I don't actually have that that angle it's not gonna want to slide along that angle so pretend I did this right and left this on the ground went back I'm just gonna bring this down here and let's actually you know we'll go through we'll go through all of these so let's do yeah this is a terrible way to do this because I don't actually have the ability to scale it the way I want to right now either but if okay that that'll allow me to do it if we want to we could duplicate this this cylinder a whole bunch of places and then I'm gonna do a Boolean difference again with just this piece and if we look now we have a hole that'll go through the stand and the back plate and then we could put a screw right through the whole thing you can imagine now to I can kind of extract this curve and build a box out in front of it also do some things like drop in our little cutouts for buttons so that's kind of a little look behind the scenes of how I approach this type of model I will be building a guide on this so you'll see kind of the results of the the model 3d model file and I'll maybe do a little how-to along the way of putting it together but that is pretty much gonna do it for today so this is this is sort of what it's looking like I kind of dig it we what I'll maybe do is some iterations with this design and see is it too tippy does it need to have like a bigger base do we need to kind of swoop this back out here a bit do we how do we want to print those from sideways and bring you in there's a million options but that is sort of the general approach that I'm going to take on this so I think that's going to do it for today I'll check back with the chat the anti-cali says that would give you good vibes if we had the haptic feedback motor indeed alright anything else any questions oh let's see I got a message here good alright that's done it so let's jump back to the workshop here where's the big me hey the big me thanks again for stopping by and if you have any questions or comments please leave them in the chat I'll be checking the discord and come on by next week I'll have another JP's product pick of the week on Tuesday and a workshop on Thursday and on the workshop show we will hopefully have thanks to foamy guy will hopefully have some software up and running that we can show off on this little gizmo and I can do some some camera switching get it to switch right now let's see will that break everything it's going to ignore me now okay yeah it's buffering all right thanks everyone I'm John Park for Adafruit Industries has been John Park's workshop and say goodbye to Lars bye Lars bye bye