A few nice machining nylon images I found:
Image by ego technique.
The original Iron Man costume worn on set of the movie by Robert Downey Jr..
This picture got me almost thrown out of the Met by a security guard, because there were no pictures allowed (special exhibition).
The challenge in designing a costume such as Ironman is that it has to serve two masters. First and foremost, in order for the film to work, the audience’s disbelief must be suspended. The suit must be a convincing technological artifact: a wearable airplane, a powered suit of armor. Every detail must seem carefully thought out and evoke our experience of functional technology. You must believe this could be built and fly.
At the same time, once Tony Stark dons the costume he cannot simply be a man in a metal suit. He must become another character entirely, with his own identity, his own personality. Ironman must look every part the hero. The design must be a simple iconic gesture, human enough to become superhuman. The forms must convey mechanical athleticism, denoting muscularity and potency while seeming to serve aerodynamics and articulation. Shoulder blades become ailerons, serratus muscles become venting louvers. It should feel as if the shape mimics the human body and a sports car in equal parts—not as a means to manipulate perception, but as the inevitable product of some artificial evolution.
Iron Man is a unique challenge in the superhero world because he is, depending on how you choose to look at it, both a superhero in the traditional sense, and a technological device based on science rather than superpowers. That is more true today than ever before because a lot of today’s technology is catching up to the science-fiction Iron Man is based on; while he was once a far-fetched fantastical idea, today he is a believable possibility. In designing the character, as well as his villains, I chose to look at it from a technological perspective and let a level of practicality dictate the aesthetics. The difficult part is that he still has to be a superheroic icon in the true Marvel fashion, so the challenge was to keep the larger-than-life, elegant silhouette and color scheme, which makes him instantly recognizable and which dates to the 1960s, and makes him as iconic as Spider-Man or Captain America, but update it for the current times. The biggest inspirations for my vision of Iron Man were the modern jet-fighters and sports cars with their active aerodynamics, various flaps, winglets, etc., which add a level of believability and practicality, but allow the design to maintain an elegance, much like those machines—an outer skin hiding a whole array of devices.
Iron Man Mark 2 and 3 were a collaboration between the designer Phil Saunders and myself, and our various strengths combined to create what I believe to be a very successful manifestation of that practical superhero idea. The suit in the movie is, for all intents and purposes, as much of a wearable aircraft as a superhero outfit. It maintains all of the key features Iron Man possesses in comics, but adds a huge level of detail and technology which makes him be as believable in motion on the cinema screens as he is.
Image by yuki-ona
What was inside my bag today!
This was taken inside my office
Image by scrappy annie
This is the start of a homework piece for the Adhesion meeting next week.
At our Christmas meeting we were given an unfinished piece of work via a Secret Santa and we were asked to bring the completed piece to the next meeting.
This is a close up of the piece I received
I’ve decided to cut mine into small squares and add some others which have been cut out of a sample of polyester and nylon.