Unpacking from the move to Las Vegas, I discovered a long-lost book.  A beloved story from my youth. 

At 5 years old, some of my fondest memories were of my Mom reading stories to me.  A tradition passed down through generations.  It continues as I've watched my cousin read to her son.

One of those stories read to me was a Japanese folktale called "Momotaro".  The title translates to "Peach Boy". 

There are variations of the story, but the one I grew up with came from this 1972 Island Heritage book, illustrated by George Suyeoka.

In this version, an elderly couple wishes for a child of their own.  Their wish is fulfilled when a baby emerges from a giant peach they find.  The boy is hardworking and becomes a skilled samurai.

He eventually embarks on a journey to free his homeland from the tyranny of evil oni (Japanese ogres/demons).  On his journey, he befriends a dog, monkey, and pheasant.  Together they travel to a remote island to confront the oni.

They defeat the ogres and return the village treasure.

I remember asking my Mom to read me the story over and over again.  I was so inspired by the book that decades later, it became the inspiration for one of my samurai armor designs.

After finding it, I re-read the book looking at it through adult eyes.  The illustrations for the story were so ingrained in my memory that I remember details of the drawings.  I remembered the imagery more than I did the words.

That's why I became a visual artist I suppose.

Renderings of landscapes and waves felt reminiscent of Japanese woodblock prints.  But the illustrations display a fusion of aesthetics as characters had a distinct Hawaii style to their appearance.

I guess it's fitting that I chose this particular rendition of Momotaro to pattern my armor after since it's mix of Eastern and Pacific styles mirror the fusion of Eastern and Western aesthetics in my own art.

As I reflected on the book's artwork, I noticed how violent the story was.  There was mention of the oni who "rob and torture and kill" villagers and a description of the dog who "bit off the guard's heads".

A bit graphic for a modern children's book?

Maybe I'll ask my cousin if she thinks the story is too violent to read to her 5 year old.  But I turned out ok - I think.

If you'd like to read more about my Momotaro armor design inspired by this book click here.

In the coming weeks, I'll be starting to 3D print a full-size version of my Momotaro armor with the help of my friends at Lulzbot and 3D Fuel.  Stay tuned.

The artist proof is currently on display at 3D Fuel headquarters in North Dakota.

Please share your favorite folktale you grew up with in the comments below.

A hui hou.

It's been a while since I've posted a blog or updated my social media.  What happened to me?

Between my chronic fatigue and the pandemic, I ended up in a period of productive hibernation.  But I spent the last couple of months dusting off the cobwebs preparing to get the creative wheels turning again.

However, I find myself dusting off the cobwebs in a different place.  Not just mentally, but physically.  I no longer reside in Hawaii...

After my trip to Washington state and appearance at the Kauai Comic Convention in 2019, the chronic fatigue shut me down for a few months.  I spent that time contemplating my future.

Several years ago, I realized my artistic future wasn't in Hawaii.  A fact staring me in the face. But, for me to leave, I had to overcome two major hurdles.

The first hurdle was the internal struggle. 

I would give up the only home I've ever known.  Live far from friends and family.  The closest destination for my plans was over 2,500 miles away.  And the culture in the islands is very different from the mainland or anywhere in the world for that matter.  How would I adjust to another lifestyle?  Could I adjust?

My second hurdle was external factors: the timing and my health.

Even if I set my mind on venturing beyond my tiny home in the middle of the Pacific, the situation had to be right for me to leave.  I previously had ties and familial responsibilities that kept me in the islands.

As time went on, circumstances changed, but my health declined.  Nerve damage and chronic fatigue took their toll.  Over three years of recovery, and I finally felt strong enough to consider moving from Hawaii.  Then the pandemic struck.  Throwing the world for a loop.

Hawaii is a double-edged sword.  What makes it so beautiful and unique is also what makes it difficult and unforgiving - its isolation.

So after some soul and internet searching, the decision was made to leave the eight islands in the middle of the Pacific and move to the 9th island...Las Vegas.

The questions facing me turned from "do I leave" to "when do I leave?"  Do I wait for the pandemic to pass?  If I wait, what can I do creatively while I wait?  Or, do I leave when it seems safe enough?  I chose the second option.

When I tell people that I moved from Hawaii, I usually get one of two responses.

"Why would you want to leave Hawaii?" or, "Yeah, makes sense."  It all depends on who I'm talking to.  Hawaii people usually give me the latter response.  Islanders understand the price of living in paradise.

Now that I'm in Las Vegas, what's next?  Resuming my relationship with old friends at 3D Fuel.  And starting a new relationship with LulzBot. 

I'll be posting updates here on my blog and on social media with details on my sponsorships with 3D Fuel and LulzBot.  Please follow me on Facebook, Twitter and Linkedin to the right.  Stay tuned...

Till next time, a hui hou. ​

Along the way, he meets 3 sentient, talking animals, a dog, a pheasant, and a monkey. He befriends them by offering some of his Mother's kibidango (millet dumplings) and they vow to travel with Momotaro and help him defeat the Oni. On the last leg of their journey, they must cross the ocean to get to Oni Island.

My armor design depicts Momotaro's origins, the animals he encounters, and his mission to defeat the Oni.

At the center of the maedate (crest) sits the peach and on either side a peach leaf.  Each leaf is designed to resemble the wavy blade of the Kris knife. ​

Again a big shout out and thanks to my sponsors 3D Fuel for this project. 

In the upcoming weeks, I'll be building a half-scale artist's proof.  Please follow me on Instagram, Twitter, and Facebook for in progress pictures and updates.  The completed artist's proof will debut at the inaugural Kauai Comic Convention on July 8, 2019.   Following that, I'll be constructing a full-size version of the armor.

In the meantime, check out 3D Fuel's line of 3D printing filament.  For this project, I'll be using their Pro PLA line.
I would love to hear your thoughts about this design in the comments below.

Till next time, a hui hou.

If you've been working with filament-based 3D printing systems for a while, you've most likely come across the need to adjust infill properties to balance 3D print time, material usage and part strength.

Well, I recently came across the need to backfill a 3D printed part with epoxy. 

When doing this is the past, I would print a part hollow as using infill would compartmentalize the interior of the part.

However, a new setting in the Cura 3.6 slicer software has an infill setting called Gyroid.

Sounds like something out of a bad sci-fi movie. This infill is based on the Gyroid, a mathematical "shape" whose definition I don't think I could adequately explain.

You can find it's definition and history on Wikipedia.

What this infill does is creates an infill pattern that provides support and structure to a 3D printed part but it leaves all the interior space connected. In other words, I can use Gyroid infill, pour epoxy into the print and have the epoxy fill the entire inside of the part.

Does it work? Let's find out.

So I could see what was happening inside the print (pictured below), I used natural PLA filament which is clear.

Once the part was printed, I drilled a couple of holes in one end to serve as fill and vent holes.  I then filled the 3D print with tea to give the liquid some color and make it easier to track its flow.

And yes, the Gyroid infill does indeed create an interior continuous volume while still providing support for the model.

How does the Gyroid infill compare to other infill types with regard to material usage and print times?

Using Cura, I processed a couple of other infill types I've used in the past: Lines and Triangles.  The statistics below are based on 5% infill.

Gyroid = 52g of material @ 4hr 33min
Lines = 52g of material @ 4hr 31min
Triangles = 52g of material @ 4hr 33min

Keep in mind the numbers above are the estimates from the software.  I've only actually printed the Gyroid infill version of the print.

Same material usage and similar 3D print times and Gyroid definitely works as a way to allow for backfilling of a 3D printed part.  From what I've read online, people claim that Gyroid infill has a very good strength to weight ratio compared to other infill types. 

This may be my new favorite infill; comparable to other infills in 3D print times and material usage but adds the versatility to be able to backfill a part.

The pictures for this post are of the restomod of my Tombo Kabuto (Dragonfly Helmet) piece to prepare it for its new home at the Kona Kitchen restaurant in Lynnwood Washington.  Follow me on Instagram, Facebook and Twitter where I'm posting updates of this and other projects I'm working on.

Do you have any tips or tricks when working with filament-based 3D printing? Have you worked with the Gyroid infill?  Please leave your thoughts in the comments below.

Till next time, a hui hou.

MakerBot recently revealed their latest 3D printer, the Method.  It is intended to bridge "the gap between industrial and desktop 3D printing".

Reading about this new 3D printer led to flashbacks of the first prosumer 3D printer, the CubeX produced by 3D Systems back in 2013. The CubeX promised to bridge the gap between hobby and professional 3D printers.

Both the Method and CubeX have the same concept...a professional 3D printing experience for a fraction of the price in a desktop system. I wonder if the Method will be able to fulfill the promise the CubeX made all those years ago.

The Method and the CubeX share in the closed source concept.  Both machines utilize proprietary materials and software.

One of the most outstanding shared features is the use of proprietary material cartridges with integrated RFID chips. For both machines, the RFID chips help to ensure correct material usage as well as track the amount of filament remaining.

Back in 2013, this was a big sore spot for the majority of the 3D printing consumer market who resented paying higher prices to use a proprietary filament that many deemed the same or inferior to other filaments on the market. From reactions to the Method, a much more accepted practice now than 5 years ago but may still be a sore subject for some.

One big difference with the Method compared to the CubeX is that the Method seems to have been designed and built from the ground up as a prosumer 3D printer rather than a modified hobby printer.   That should make a big difference in reliability and the plug and play capability.

In 2013, hobby printers had been around for a while and the growing user base for 3D printing expanded to include users who could benefit from a sub $5000 3D printer that could consistently produce accurate, high-quality parts straight out of the box. This group included small companies, independent engineers, makers, and designers.

While the hobby 3D printers themselves could be bought for as low as a few hundred dollars the real cost lay in the time and effort it took to get these printers to produce...anything. And reliability was always in question.

3D Systems sought to meet this need by re-appropriating the Bits for Bytes 3D printer and re-branded it as the CubeX.  The result was a 3D printer that was capable of large (roughly 10" x 10" x 10"), high quality, unattended 16+ hour prints out of the box.

Putting things in perspective, most desktop 3D printers around this time took several months of tinkering to fine-tune before they could produce anything usable. Most operators babysat their printers while it was running. Larger build chambers were roughly about half the volume of the CubeX.

Many users resented the loss of open source components. But this is what made the CubeX so plug and play. Everything was tested by the manufacturer to work together. No need to find the correct software and settings to use with a particular filament. The manufacturer was able to provide quality control over the filament to reduce material jams and ensure quality prints.

Sounds good right?

Ultimately, it was all the proprietary changes that led to the demise of the CubeX.  When it ran, it was a great machine.  However, the reliability of the proprietary components would fail often leading to the 3D printers being temperamental at times...well...often. This was the result of retrofitting an existing 3D printer.

This meant that a user had to be his own tech support, not only learning about the technology to understand the printing problem but also doing the hands-on work needed to get the 3D printer operating again.  Exactly the sort of thing the CubeX target audience wanted to avoid.

Hopefully, by creating an entirely new machine, the Method will avoid the mistakes of the past.

Neither printer has a heated build plate, something that is fairly common now. However, the Method is fully enclosed and the build chamber is heated. This enclosure could provide a big benefit in increasing overall part strength in the z-axis.

There's a bit of irony in that Makerbot made it to the top of the consumer 3D printer market in large part to its adoption of open source features.

The Method sounds good on paper but one of the most important lessons I've learned in the 3D printing industry is that good specs don't necessarily equal good 3D prints. Time will tell.

If you've had experience with the CubeX 3D printer, Makerbot's new 3D printer or have any thoughts on the prosumer 3D printer market space, please leave your comments below.

Till next time, a hui hou.

In retrospect. 2018 was a transitional year for me. It was a year spent finding ways to cope with chronic fatigue due to nerve damage from the shingles virus almost two years ago.

It was a year of finding ways to put my life back on track. The first half of the year was largely trying to stay stress-free and give my body time to hopefully recover.

Of course, no matter how hard you try, life is never stress-free.

Somewhere during that time, I began a resto-mod of my Tombo Kabuto, preparing it for its new home at the second location of a Hawaii themed restaurant, Kona Kitchen, coming soon to Lynnwood, Washington.

Both locations are owned by actor Yuji Okumoto, who played one of my favorite childhood bad guys...Chozen from the Karate Kid Part II.

More on that project soon.

Toward the latter half of 2018, I reconnected with some friends at 3D Fuel. 
3D Fuel produces 3D printing filaments to meet a variety of needs including high impact PLA and unique composite materials made from hemp, coffee, and beer.

John and Carl (3D Fuel) and I discussed sponsorship possibilities. Timing was good, I was just getting back on my feet and back to work.

3D Fuel's sponsorship also provided an opportunity to pick up on a project that has been on hold since 2016 because of family health issues...the Momotaro Armor. Its design is inspired by the Japanese Folk tale "Momotaro" my Mother read to me as a child.

A big thank you to my new sponsors.  John and Carl, thank you for making this happen and I'm looking forward to awesome creations with 3D Fuel.

Great people, great products.  Please check them out at www.3Dfuel.com.

I'll follow up soon with more about the inspiration behind the Momotaro Armor and a reveal of the design itself along with details of what's to come.

In the meantime, check back here on my blog for updates on all my projects and follow me on Instagram, Facebook, and Twitter where I'll be posting progress pics of the Tombo Kabuto.

Till next time, a hui hou.

Over the decades I've been involved with digital art, no matter the application: education, tourism, commercial art or fine art, one thing remained constant - how do you protect your digital artwork?

Years ago, many would protect their work with a watermark over an image. This is counterproductive to a degree as it detracts from the image itself. Sure, it protects your work but at the cost of making it more difficult to appreciate said work of art.

It also only protects your virtual art when it is displayed online. If you sell your digital file, there is no way of stopping the illegal replication and distribution of it. The format of your content doesn't matter.  Stills, videos, interactive content, and animations are all at risk.

Working with 3D printed art isn't too far removed. The physical 3D printed model can't be replicated and traded as easily as the digital file, but, all 3D printed models come from digital designs.

If someone gets a hold of my digital files, they could 3D print my sculptures to exacting detail. Can blockchain technology solve this issue across the board for digital art?

Reading this article, "10 Ways Blockchain Technology is Changing Art" by Bennett Garner sums up ways that blockchain technology affects the way people create and trade art both virtual and physical.

One of those ways is by making digital art unique. Being able to sell and trade a digital work as unique pieces is a big change from the past.

In addition, blockchain technology promises benefits on the selling and trading of physical art pieces as well. A win on both sides of the 3D printing coin.

While I still don't fully understand the nuances of how the technology would be deployed to protect digital files, it definitely presents a major change in the way we interact with any computer generated works of art.  And it's an area of technology that I'm keeping my eye on.

If you have any thoughts on, or experience with, blockchain technology and its application in protecting digital files please leave them in the comments below.

Till next time, a hui hou.

This article, “Blockchain Technology Job Market and Salary Trends so Far” by Elizabeth Gail on CoinCentral, outlines the 300% increase in blockchain technology-related jobs compared to the same time in the previous year.  She goes on to point to a current shortage of blockchain talent.

The article reminded me of parallels to the general growth cycle of the 3D printing industry. I worked in that industry as it went through the cycle from a mainstream introduction to media hype to consumer disillusionment then consumer enlightenment.  And eventually, 3D printing will find stability.

Keep in mind, when I refer to the 3D printing industry here, I use it in a general sense. There are many different 3D printing technologies, specialties and closely related fields that fall within the category of 3D printing.  Some of these lie in a different phase of the cycle.

Similarly, Blockchain technology seems to currently be surrounded by a lot of hype but, like 3D printing, it is gaining mainstream acceptance with practical applications as indicated by the growing number of jobs with major institutions like Bank of America.

By looking at the parallels between theses two technologies, one can perhaps project a similar path to mainstream acceptance for blockchain technology.

As with 3D printing, a lot of the hype was just that, hype.  It's not to say that 3D printing doesn't have practical value, but a good majority of people still believe 3D printing is more than it actually is.

Until that hype is dispelled, 3D printing will not reach it's full potential as people will implement the technology under false intentions leading to disappointing results.

Do I think that blockchain technology is over hyped? Yes and no. There are real practical applications for the technology in many industries with many other areas of application to be explored.  Those who work in the blockchain field understand its real value. But, for the layman, many proceed with a fair level of misinformation and unjustified expectations good and bad.

Because it is largely without a tangible aspect, blockchain technology has a bigger uphill battle to gain acceptance than 3D printing.

As more and more people actually come into contact with the technology and grasp the reality of what it is and its true benefits and limitations, only then will the hype start to give way to real practical value.

Like 3D printing, blockchain technology has a future where it proves to be a true game changer. Although, the reality of how the game will change will probably not unfold the way many imagined it would based on the hype.

Please let me know your thoughts on the over hyping of technologies in the comments below.

As an artist, digital technology's impact on traditional fine art serves as the basis for my work with 3D printed sculpture.

As a 3D printing consultant, I'm always expanding my knowledge of new and growing technologies. I focus not only on 3D printing and its related fields but on technology in general.

Following technological trends is important. You never know when you'll find yourself at an intersection of two cutting-edge technologies or in this case, the crossroads of the cutting edge and the traditional.

Recently, this article from CoinCentral, titled “An Insider's Guide to the Best Decentralized Art Galleries” by Steven Buchko caught my eye.

The article introduces the idea of moving away from centralized brick and mortar art galleries in favor of virtual assets or financial shares of a physical art piece. Hence the term “decentralized”.  An entirely new way of interacting, collecting and investing in the fine arts all made possible by blockchain technology.

I won't delve too deeply into what blockchain is or how it works in this post.  I'll admit, I'm too much of a novice with the technology to explain it properly.  It would be like asking a white belt to teach a martial arts class.

In a nutshell, CoinCentral describes blockchain technology as, "a list of digital records (blocks) that are chained together using cryptography".

Buchko's article continues with an overview of some of the more prominent decentralized art galleries currently.

While I have heard of blockchain technology and the related cryptocurrency before, it had not occurred to me what sort of impact blockchain technology could have on the fine arts until I read this article.

I have been exploring ways in which 3D printing technology can impact and expand the fine arts world and I can see where blockchain technology can be the next step in the distribution and commodification of art.

As I expand my knowledge of blockchain technology and cryptocurrencies, I'll post more articles and share my thoughts here on my blog. Some will relate to the art and entertainment fields and others will be more general interest.

Beyond the financial investment front, I wasn't sure how cryptocurrencies and blockchain technologies related to me. After reading this article, all that's changed. Time will tell if decentralized art galleries will be a revolution, evolution or passing trend in the art world.

Either way, time to head down this technological rabbit hole.  Stay tuned.

Please leave any thoughts or experiences you have with decentralized art galleries in the comments below.