Monday, March 27, 2017

Barvo helmet

Well, many months later, the time has finally come - The 'Barvo' helmet has been delivered to its rightful recipient, Andy Dudynsky, or Bravo (Barvo, Bartzo, Bargo, Bramo, etc). For those of you who don't know, Andy used to be a pro gamer and had a very distinct look to him. Some redditors took that look and one day made a sketch of what that 'look' would be like as a Halo helmet.

To go one further, /u/PlainBen & /u/CtrlAltFyn even modeled this sketch into a great 3d helmet.

Now, Andy has done a lot of pretty great things for the Halo costuming community. In particular, our group has had the opportunities to be front row for Halo comic conventions, tour 343 studios, enjoy silly but awesome photoshoots and so forth. Andy helped set a lot of those up and has always made sure we were taken care of. We figured one of these days we should repay him for all he's done for us.

One day, members of our costuming group from Oregon, San Francisco, Los Angeles and Mission Viejo banded together and made a plan. We were going to find the redditor that modeled the helmet and see if he minded awfully if we used that model to make The Bravo Helmet.

/u/Plainben & /u/CtrlAltFyn graciously allowed us to use the model and Jeremie Sloan up in Oregon printed the helmet in sections. It was then sent to me and I began the next steps.

Assembling the helmet was pretty straight forward, find which pieces go together, and I used a plastic epoxy to adhere all the sections together.

As you can see, with all the striations and little grooves from where the pieces met up, there would need to be some smoothing and filling.

There was a long process of using bondo spot putty, bondo putty, filler primer and a lot of sand paper, filing and smoothing. It was at this point that I was going to need some help. I spent some days up at Shawn Thorsson's shop, of Thorsson & Associates, to get the helmet properly prepped, molded and cast. We did decide to use this project as a great video tutorial. I implore you keep an eye on Shawn Thorsson's facebook to see this thing being made in the form of informational videos! 

After we added in some details, some proper grooves, and other aesthetic features to finish the look, we ended up giving it a coat of pink, glossy primer.

After we got the prototype all set, it was time to start the molding process. Since we didn't want to use the 3d printed helmet as the final product, we figured we would mold the helmet so we could make more than one in case we broke one or needed to make changes. I won't go too far into detail into the molding process, but after Shawn considered the best way to mold the helmet, we decided to split the mold in half, down the front/back halfway point. This would mean the cast helmet would be able to be released from the mold without damaging the mold by not having any unecessary yanking, pulling and stretching.

The process is... slow. In order to pour rubber silicone over half the helmet, we had to build a platform that only showed half the helmet, and then we had to make a giant clay dam of sorts to keep all the silicone together and not let it pour out. The stuff takes a long time to cure, so having a clay bed to keep it all in one place is necessary.

Once one side was covered in pink silicone (We used Mold Max 30), we let it cure and the following day, the other side got the same treatment from Shawn. So now what we would have is a prototype helmet inside, with a giant pink rubber jacket that was in two halves. Now the rubber is pretty floppy on its own, so making casts of the helmet is tricky unless you have another, rigid jacket on the outside of the silicone. This is done in the form of a fiberglass shell. Again, I won't go too much into the details of the process, but the idea is just to have a hard shell to keep all the floppy rubber in shape.

This is the silicone mold with its fiberglass shell. The 'dimples' are to help make sure you are putting the fiberglass shell on the correct way, and prevents it from slipping out of place.

Now that the mold was done, we needed to get our prototype out of the mold. We took the fiberglass shell off (after adding a way to clamp the two halves back together) and peeled the pink silicone off of our prototype. That prototype had now served its purpose. 

So now we had an empty silicone mold, and it was time to try to make our first one! We mixed up some Smoothcast 65d and poured the liquid resin inside the mold. We used the rotocasting method to cover the inside of the silicone with a thin plastic shell. To make sure this helmet wasn't too thin, we added a few more batches of liquid resin to add some thickness to the whole thing. The trick here is to not add so much that the helmet is too heavy to wear, and not add enough to where a strong breeze would crack it.

Our first cast was a success!

We now had a hollow, plastic shell of a helmet. It needed a little clean up and a quick sanding to get it ready for painting.

After using paint primer, I went through the steps of painting in layers to get the color scheme. It involved a lot of meticulous masking tape work, and planning on how to paint the colors in a way that minimized the amount of taping needed.

A clean helmet is no fun. No one wants to think that Bravo does all his heroic deeds without breaking a sweat so I added some weathering to the helmet to make it look battle used. This was mostly done with some black wash paint, silver and dark grey/black model paint and some nifty brushes/brush strokes.

Next thing was to give it a signature Halo style visor. I brought the helmet down to Mission Viejo to our buddy Jose at Armory Props and had him install one of his signature LED lit visors.

It was just about finished! Just one last thing...

It glows!

Shawn made a few of his own variants that turned out great. I'm actually a huge fan of the chief colored one!

We were graciously invited to the Halo Championships in LA this past weekend where we had collaborated with some 343 members to get this helmet presented to Bravo. After the championship ended, we had the opportunity to finally give Bravo his surprise gift.

I was sporting my Emile suit for the presentation, which, I must admit, is hard to see/hear out of. Bravo soon joined our ranks of not being able to see or hear when he tried the helmet on. It soon became apparent to him why he always saw us running into walls and people when we're in costume.

You may have seen the video already posted of our presentation, but this one we took shows a little more of the introduction and aftermath.

So to sum up, thank you /u/PlainBen & /u/CtrlAltFyn for helping me get a hold of the 3d files you guys so skillfully created, thank you Jeremie for printing the helmet, thank you hugely, Shawn Thorsson, for helping me prep, mold and cast the helmet, thank you Jose for helping us get this helmet an amazing visor and oh yeah -

Thanks for all you do, Bravo!

- Starside Armory

Shawn Thorsson of Thorsson and Assosciates handled the video documentation of the prep, mold and cast steps and will be publishing them in the near future it sounds like so keep an eye out for that as well if you want to see this thing get made and learn how we did it even more so!

Tuesday, February 28, 2017

Evolution of a simple design and learning to art

There is something myself, and probably my D-walker building brother, have in common. Neither of us were really trained as artists. My mother was a painter. A great one at that. She never pushed art on us though.

Left to our own devices - we doodled endlessly. Neither my brother or I ever took it seriously it seemed. We had made characters, whole worlds, built cardboard replications of this stuff - but we never pursued schooling in the field of design, art, painting, etc.

Through college, I thought I wanted to be an engineer. I had always viewed arts and craft as a hobby of mine. I was young and a little aimless in some ways. My first foray into art as something other than a hobby was after I had moved back home and my friend had mentioned there was an artist position on the marketing team for Whole Foods. I was a bit puzzled to say the least that carrots needed an artist, but nevertheless, I needed a job.

I was pretty straightforward with the marketing team/interview panel. I have no formal art training and I am a doodler by nature but at least artistically inclined it seemed. Graciously, the team gave me a chance and hired me as a part time artist for them.

Holy shit was I bad. I know everyone's first work is bad, but damn, I was 5th Underworld movie bad. The job revolved around graphic design and using paint pens to create meaningful art, representation and intrigue to the company. The only problem is - I hate color. I was just god awful at color. There's no easy way to put it - I just didn't understand how it worked. I would look at a picture, a costume, a painting - and not understand how the colors were made. It turns out - you just add brown to everything. Just kidding, but anyway, my early attempts at 'art' displays were just so awful.

I know most people are embarrassed to show their 'bad' art. But if you're anything like me who thinks they can keep improving, well it's all shit then, isn't it? 

I mean, it doesn't even make sense? Does it? It's so scatterbrained

I've learned a great deal of humility, acceptance and overall ambivalence to my art. I know I'm not the best. No one really is, right? It's subjective and we're our own harshest critics, so I've finally become comfortable with sharing it all.

Something I like to do is encourage people to try. It can be daunting when the majority of work that is published is refined, polished and professional looking. Hopefully by bridging the gaps of my early work to my current work - you'll see that we all sucked at one point and feel more comfortable giving it a try.

So here I am, raising eyebrows at my job, as they begin to question my friend with things like 'You said he's an artist...right?'

I panic. On the one hand, I haven't mislead them by explaining I'm some color bending wizard. I am simply someone trying to learn a new medium and apply it in a helpful way to my job. Luckily, they stick with me and I begin to practice and practice. I started to get better at blending colors, layouts, minimizing clutter and attempting to paint things I'm awful at, like faces.

The blank space was for a price!
Eventually, I became pretty well acclimated to my pens to the point where I was confident I could make almost anything I could think up. I began to buy my own chalk pens and boards and make my own art at home.This job lasted nearly 5 years before I realized I could only go so far with painting for a grocery store. I have since left that job and moved to LA to pursue better opportunities. That's a story for a different time though.

During my tenure at this job, I had retained my sketching ways. I was constantly being inspired by video games such as Halo and Devil May Cry and also movies like District 9. I had a certain affinity for angelic creatures as well as samurai and regal sort of glamorously shiny looks. I had one day sketched a culmination of those into something.

The earliest sketch I have of this design
I was immediately obsessed with the design. I loved the idea of a shiny, essentially faceless, intricate creature. I began drawing it over and over, trying to smooth out and finalize areas like how I would like the shoulders to look, the head to look, etc. I tried simplifying areas, complicating others, redrawing from different angles, all that jazz. The problem was - I was still very bad at proportions, sensical orientation, HANDS, feet, joints, all that stuff that we might not realize is incredibly hard to replicate on paper.
Another early rendition
There were certain aspects I liked and wanted to keep throughout my permutations. I liked the idea that the grey, semi-scaley undersuit had these channels of lights that either would glow, pulse, or flutter in a linear way. I liked the idea of the armor being gold-ish. I liked the contrast of gold and blue. I tried my hand at using my paint pens to make the creature one day.

Somewhere along the way, I began to grow fond of tan sketch books. I picked up a set of copic pens, some paint pens and some watercolor. I learn a lot from watching how other artists do things, and my friend Juli had a pattern of doing sketches with hints of color and shading to compliment her sketch. I began to try to adapt some of those ideas into my work, with varying degrees of success as I tried to work out my own style.
One of my first tan paper sketches with some color
I liked the idea that the creature's wings weren't exactly tangible. It could summon them into existence in a blinking flash of light and when it would flap its wings, a shockwave of this same light would be left behind as a remnant shadow of spent energy. I think I got the concept from watching Chronicles of Riddick... when the Lord Marshall would move about, he would leave behind a shadow of himself and it would slowly follow suit. Kind of like that.
I didn't realize my monitor was so fucked up and that green looked blue on the monitor... soo
I tried my hand at digitally sketching him out to sort of help get it down using a different medium. It's amazing what changes when you go from pencil to paint to digital, and vice versa. I tried simplifying some of the areas and show more undersuit as the bulkiness of the previous designs didn't really make sense in a 'practical' sense. Not that that has ever stopped me before..

Starting to use watercolor for the blue
I had always subconsciously decided that the creature's face wasn't a face but rather a helmet. I wanted to put a face to the person inside instead. The only reason I hadn't done it before is I was still very bad at drawing faces. Without any real art training, I just didn't know where to start. I had watched all sorts of youtube timelapses of art being made so I could see how people drew faces, proportions, limbs, anything that I had problems with. Beyond that, it was just tons of practice. Like I've said before - I was bad. I was SO bad. I couldn't get the orientation right. Before, when I had done paintings, I would trace a face of a photograph or do a very simple, non realistic face. Drawing it with fine pencils as opposed to blobs of color proved to be harder. I couldn't use a dab of slightly darker pale paint to illustrate the subtle face shadings. Not to mention, with no face to go off of, I had no idea where to start creating a face from scratch.

It just...didn't look right
I liked the idea of spiral earrings, a semi headband looking braid and flowing golden/blonde hair. To match the blue lighting of the suit, I imagined her with blue eyes. I drew her over and over, constantly looking at other people's work to find out just how they drew faces so effortlessly.
 Left to right. Sketch - Pen - Minor shading/lighting - Watercolor
To keep in line with the idea that I'd love for people to be able to look at what I've done with no training and realize that they can do it too if they just stick with it - I began trying to take note of how my pictures looked during my doodling stages. I would like to make a habit of going even further and taking pictures of how I just sort of begin with scribbling shapes on paper to represent things like shoulders, face, arms, hands, and chest to sort of begin with proportions.

I've started to narrow down how she looks. A little bit. I'm still learning every day how to art better. In every manner of the word. Lighting, proportions, limbs, facial structure/composition, shading. I don't need to be perfect at any of it, I just want to make some cool shit. I don't even know what I intend to do with the character if I ever really flesh out all the little details and get it right. I just know that I learned from the great artist, Aaron Beck, that Creative Procrastination is a surefire way to keep yourself engaged creatively and who knows, maybe you'll make something that is worthwhile.

So wait, what was the point of all this?

I just want everyone to keep in mind how I know how daunting some skills and talents can be. Just remember that I've learned everything I've done from trying it, asking about it and enjoying every step of the process and learning.

Oh, and every now and again, you're going to struggle to get pen to paper and create something. I solve this by playing drinking games in an elevator with your friends. It really clears the mind.

Sunday, January 8, 2017

D-Walker Africa gallery and improvements to be made

Before I box up DW and either sell him or ship him, I had to take some actual pictures.  Until this shoot I had only worn it on one day of Honolulu Comic Con.  It's cumbersome in all directions, and feels heavier after suspending it for only a few minutes - pretty much the worst class of costume there is.  There are some things I would change about it, which I have written about below.

First, here are some quick cellphone shots at a land development in west Oahu.

I thought this future condo site looked pretty close to the savanna parts of the Africa theater. 

Modeling is not really my thing.  I could have at least borrowed some binoculars for this, but I didn't think of it until the moment you see here.

 Most of these shots are chosen to show off D-Walker's legs while trying to minimize how awkward the dangling hobbit legs look.

I wore a Snake arm kit because I may as well right?  I only have enough costume for OG Venom Snake though, not that old one-eyed demon.

Speaking of the rider costume, as is tradition, I threw together the balaclava the day before this outing.  I thought I had misplaced the balaclava from my Warlock costume, but I had recently found it in a logical place while packing for my upcoming move.  I cut some simple shapes out of a reusable bag and hot-glued them to the balaclava.  It was the only suitable material I could find around the house, and it's flimsy enough that sewing would not be worth the effort.  You can even see that I used the bag handles as the side straps, which - to my surprise - keeps all slack out of the top of the balaclava.  It's not a superbly made or long lasting costume piece, but it was free and got the job done.  My favorite.

 The rider has zero buttocks volume, but believe me, all the implants I made looked much worse.

The armor panel hides the transition in the rider's body, but it still looks hilariously disproportionate.  If I rebuilt the legs I would use a more sculpted material like gardening foam instead of the felt sheets I had.  There is a fine line between the legs looking flat and looking too fat or oddly shaped.  They also needed to be as flat as possible to not interfere with the armor panels.  

The leg armor area is a little narrow compared to the width of the body.  I think I could have just stood with a wider stance to make it look better.  Also the boots are large, and too securely attached to the foot pegs - a little slack would have let them rotate with the calf more naturally. 

I replaced the main shoulder bracket with a shorter version, bringing the arm closer to the body by 1".   The new shoulder is better balanced and better looking.

I should have taken some more video of the head moving, and doing idle animations and stuff.  Oh well, the photo shoot was meant more for archiving than showing off.

Falling forward is the worst thing you could do here.  

A simple stand can be made to display this costume.  The footpeg pipe that connects the belt to the bottom of the frame could be replaced with a skeletal pair of legs made of PVC or ABS.  They would have to be very rigid and have extended feet to balance the 26-pound body.  You would then help the skeletal legs into the pants and shoes I wore... or you could remove the armor panels from the pants and dress the stand up to be proper D-Walker legs.  If no one wants to buy it, I'll definitely make the stand and post him up in the foyer.

D-Walker will be up on the Starside Armory Etsy store for a couple months - as soon as I figure out the shipping costs, which will have an influence on the base price.  If I weren't moving across the ocean I probably wouldn't sell it, but I like to pack light.  It was a challenging and rewarding project that I am quite proud of, and that has sparked an interest in robotic art.

Here is the Etsy link.

Thank you for reading, bye!  


Thursday, October 13, 2016

D-walker build - Conclusion

Videos of final assembly and AHCC '16 costume contest, and reflections on resourceful cosplay.

I had wanted to make this style of costume for a long time.  About 3 years ago, I was sketching plans for a Megaman X2 ride armor costume.  The mech's arms and legs would be mine, I would wear a Megaman helmet, and a little pair of puppet arms would appear to be controlling the mech.

I thought it would be fun to give life to the mech's limbs, and my oversized head next to the tiny little arms would faithfully represent Megaman's art style.  However, the whole thing is made of curves and the legs are reverse jointed.  For these reasons I never got past the brainstorming stage.  I like to keep things simple.

Then MGSV trailers started showing up, and I recognized that D-Walker would be a much easier and more appropriately designed candidate for this project.  Then I started my Snake arm project and MGSV came out, and I'm only barely exaggerating when I say I spent Q4 of 2015 doing nothing else.  I burnt out on the arm project and didn't make anything for a couple months.  Eventually I heard about Amazing Hawaii Comic Con coming in June, and I remembered D-Walker.  I envisioned an ultra-simple build, but as I dug deeper into my junk bins, it got more and more complicated.

From April to June 19th I devoted most of my time to D-Walker.  Below is the final assembly before the con.  It's about 3 hours condensed into 3 minutes.

Somewhere in the middle of that I add some red vinyl and weathering to the side panels, then glue the middle section to the handlebars.  This helps bring the middle pieces together and seals up a large gap near the grips.  This also makes the middle panels the only foam that is no longer removable - the side panels are still attached with zip ties only.

On the way to the convention in a Scion xB with a couple inches to spare.

A few hours after that, I entered D-Walker in my first costume contest and won best in show.  Hooray!  Here is a video of that, in which I awkwardly trot around and attempt to leave the stage before they're done with me.  I also did a bit where I pretended my electronics shut down and then came back on with a well-placed smack.  Unfortunately I accidentally left them turned off, so that was kind of lame.  I show up at 16:00:

The prize was a huge, hammerhead shark-themed great axe.  I couldn't even carry it and operate DW at the same time.  It is now displayed on the wall of my wife's burger shop Burgers and Things, which also has tons of other cool comic and video game art donated by their adoring customers.

The bad ass Shredder won last year's contest, but he had to wait until the con came back this year to collect his prize.

The most rewarding aspects of making this costume was not winning the costume contest or showing it off or even admiring the finished product.  For me, the process was the most enjoyable stage.  Digging through my bins and finding old scraps of plastic and metal takes me back to when I played with Legos in the exact same way.  No matter how mundane an item's history, for some reason my brain has a section devoted to cataloging them.  I know when the perfect piece is hiding at the bottom of the bin, stashed away years ago, before its specific value was apparent.  

D-Walker is a culmination of finding purpose for such items, and in a way, working on it was like tying off loose mental strings.  At any given time I can look at myself a year or even a month ago and chuckle at how naive I was, at the odd decisions I made, at how much I have learned since then.  But whenever I uncover a scrap of metal that I saved from ending up in a landfill some years ago, my seemingly irrational behavior back then is justified.  I can reach back in time and commend myself for saving the skeletal remains of a cheap inkjet printer, because by some stroke of resourceful thinking and/or luck, today those remains are exactly what I needed.   It's kind of like a manageable form of hoarding - I squirrel away this or that just in case I need it some day, just because it may have some conceivable value to someone somewhere sometime.  But a collection needs to be organized and inventoried, or it stops being an asset and becomes a burden.  And unlike a serious hoarding disorder, those loose ends I had collected were eventually utilized.  

Productively liquidating a collection of garbage is a good feeling, especially while building a cool robot costume from one of my favorite video game series, and all at relatively small expense.  After I finished D-Walker, I gave away the rest of my junk to other crafters, in hopes it would be useful to them too.  I was still left with some stuff that no one wanted, and I was a little remiss to trash it.  It was still just a bunch of junk though, some of which I have actually shipped from Hawaii to Oregon to Hawaii once before.  When I move back to Oregon with my wife next year, I want to start with a clean slate.  At least until I have a bunch of empty, easily accessible and labeled storage bins set up in a garage workshop - then I can start scavenging Craigslist free ads and roadside garbage again!

Thanks for reading!  I hope it was helpful and/or interesting.  Now go build something!

Wednesday, October 12, 2016

D-walker build part 5 - Electronics

The real and fake electronics in D-Walker.  These parts used an excessive amount of scavenged parts, so I'll try to save all that source information for a big list at the end.

The "cockpit" of D-Walker is the most detailed part of the costume, even though the rider is about the only person who can really get a good look at it.  That may be for the best, though, because it is also the least accurate part.  Compare the above to the source below:

The proportions just wouldn't have worked with how I wanted to build it.  The real D-Walker is larger than mine, and that big rectangular shape would hinder my legs.  The grips are of suitable size, but I couldn't position them far enough apart without scaling the entire build up.  I also had some electronics from the 80's that I thought would look good, even if they weren't accurate.  I condensed the layout a little to make it work with the scale and materials available.

Anyway, D-Walker has a few simple electronics in it.  In the head it has two LEDs and an exhaust fan, as well as the GoPro Hero 3.  There is a pair of fog lights on the front.  There are some lights and a semi-functional attitude sensor on what we'll call the dashboard (the part with the large blue circle).  The center console has an LED readout of volts and amps, and hidden behind it are a pair of PC fans that blow on the rider's wrists.  The right grip holds the main power switch, and a sub-power switch bank is located to the right of the center console.  At the con, I hid my phone deep in the cockpit using a magnetic mount so I could control the GoPro and do other phone things while appearing to be fiddling with integrated controls instead of my phone.  The four buttons on the sub-power panel control the head lights, head fan, fog lights, and rider fans.

The knobs on the power supply panel are just for show.  Why would a rider need to adjust the current and voltage?  Maybe this is a prototype D-Walker that needs tuning, or maybe it needs to be adjusted when using something like the H-Discharger.  The three switches in front of the right grip are for show because Alan Tudyk loves flipping magic switches.  The black ignition button on the right grip is not currently used, but the plan was to have that be the trigger for whatever weapon is installed on DW's left.  The wiring exists, but I didn't build any weapons.

The red stripes are supposed to remind you to keep your fingers out of the fans.  Sorry for bad lighting.

The above photo is the center console panel, opened for access to the battery pack and power display.  The rider cooling fans make up the left and right walls of this compartment.  A 12V battery pack, modified to make 9 volts, is secured by a twisty wire tie and can be connected/disconnected without removing it.  A length of coat hanger loosely zip tied to the panel acts as a kick stand to hold it open.  A magnet on the lower left holds the panel closed, provides a secure base for the kickstand, and also holds a hex wrench that is needed to remove the head and arm.  I removed the printed circuit boards behind the power supply's display and replaced it with my own self-contained LED display.

Nearly everything about the center console is improvised.  I had already made the frame without knowing exactly how I would build this area, so when I started adding pieces, I just had to make it up as I went along.  While figuring out how to mount the power supply panel, I realized it could be hinged instead of fixed.  The fans were added because they happened to be the perfect size and I thought it was cool, even if they don't actually provide much cooling.  The panel kept slamming shut whenever I bumped it, so I added the kickstand.  I added the LED display when I realized a name tag from my portal gun project would fit in the space and could easily be programmed with whatever I wanted.

Dashboard.  The markings on the blue screen are meaningless now, but they look cool.

The dashboard consists of a green main power light, a red warning light, a DC milliamps meter, an attitude sensor, and some non-functioning buttons and knobs.  The warning light is just a reflector - it's shining here because I used a flash.  The main power light and sensor come on with the main power switch.

An attitude sensor displays a vehicle's pitch and roll as compared to the horizon - this is generally only used in things that fly, and is probably called something else in that application.  In MGSV, the green circle might be a radar or something.  In my D-Walker, however, it came to be an attitude sensor because I was just trying to come up with an interesting way to use that blue screen.  The white LED beneath the plastic screen is affixed to a metal rod with a weight on the bottom, suspended by a water balloon (yes, really).  The water balloon, being nice and flexible, lets the rod sway all over the place.  The rod came out of a printer and has a little groove in it where the water balloon ties around it, keeping it from slipping loose.  The weight, a brass fitting, keeps the rod pointed towards the ground, with an inverse effect on the LED.  You know what, just observe this gif:

A textbook(?) example of a cheap cosplay trick.

I didn't use any relays, resistors or anything complicated in these electronics.  I just made sure all of the LEDs were pre-wired for 9 volts.  The PC fans and all of the switches (including the stock motorcycle controls) are made for 12 volts, but will work just fine with 9V (the fans just spin a little slower at lower voltages).  To convert the 12V battery supply to 9V, I modified the connecting bits to exclude two of the eight AA battery slots.  Eight AAs at 1.5V each = 12V; six AAs = 9V.  I did this because I already had the 12V holder.

Speaking of things I already had, below is a list of every little piece unique to the electronics, and where I got them.  I got a lot of cool stuff from an old IT firm that closed down about a week after I started building DW's frame.  They gave everything away on Craigslist for free, and it was PACKED with stuff.  I spent 5 hours there and left with all kinds of other things like a 40-piece tap and die kit, a Virtual Boy, a strobe light, a PS1 DDR pad, electronics and programming study books, power strips, plastic containers, and so on.  If I wanted it, I could have taken thousands and thousands of dollars worth of professional electronics, but it was all too huge and heavy to bother with.  I'll refer to this source as "CL IT".

-Instek power supply - CL IT
-Oscilloscope (donor for blue screen) - CL IT
-Non-functioning dashboard bulb - Oscilloscope
-Fuse holder - Oscilloscope
-DC milliamp meter - CL IT
-Specialty screws for milliamp meter - removed from broken multimeter
-Non-functioning dashboard knob - removed from broken multimeter
-Non-functioning dashboard button - power switch for broken Surefire flashlight, from a friend
-Nametag LED display - portal gun project
-Round SPST switches - portal gun project
-Green LED - portal gun project
-Green lens for LED - pried out of slow cooker on the side of the road
-White LEDs - MIDA project
-Donut magnet - MIDA project
-Coat hanger - closet, I'm sure I didn't buy it
-PC fans - CL IT
-12V battery holder - Warlock project
-Red reflector bolt - came with motorcycle, formerly used to affix license plate
-Printer rod - a broken printer that became more broken, from old retail job
-Grenade-patterned water balloon - I just have water balloons okay
-Brass fitting - from old solar job, I was going to use it to make a mock shotgun shell
-Yellow vinyl (fog lights) - scraps from label printer at old solar job
-Clear acrylic (fog lights) - old retail job
-Foil tape (fog lights) - old retail job
-Wire thingy (right of dashboard) - CL IT
-Hinges - Found in toolbox, not sure of origin
-Magnetic cellphone mount - borrowed from girlfriend's car
-All wire connectors - from back when I installed too many electronic things in my old car
-3 magic DPST switches - CL IT

That list surely means next to nothing to you, but as I mentioned, it's significant to me because lots of it is leftover from old projects and random parts hoarding.  The point is, I built all of that at almost no cost!*

*Not including money already spent on other projects...

D-Walker build part 4 - Arm

Judo chop

That's my dining room table and I didn't clean it for this photo.

D-Walker's arm didn't turn out exactly as I wanted, but it functioned well enough for another improvised, one-day build.  Again it is made of 6mm Celtec and some assorted hardware.  The arm attaches to the rotating shoulder joint on the body, giving it a little under 180° of motion.  It also utilizes a steel cable attached to the arm controls to pivot at the elbow.  

Steel cable is represented by paracord in this picture.  The spacer at the elbow bolt point lets the forearm pivot.

The above photo is pretty much all of the planning I did for the arm.  A steel cable anchored to the forearm and bent around the elbow could be retracted through some guides in the shoulder, straightening the elbow.  This would make D-Walker do a chopping motion, but I was not able to get very much range of motion out of it.  I tried a few different variations of the geometry, but they all had roughly the same results.  The limiting factor was the rubber-sheathed steel cable, which only had about one inch of travel.  The cable was from another non-essential stock part of my motorcycle (the exhaust flapper system) that was sitting in my junk bin.

Arm control components built by Yamaha Motorsports.

The above photo show the arm controls in the cockpit.  The rubber throttle grip rotates, pulling on the steel cable.  The zip ties are a temporary way to anchor the cable to the grip, something I forgot to do before I got to the con.  The whole control armature can be moved in and out to rotate the shoulder, as demonstrated in the frame section of this blog.

In order to transfer the motion of the steel cable through the 90° bend at the shoulder, I used more of that static kevlar cordage in place of cable.  It threads through a U-bolt in the upper arm and attaches to the end of the steel cable that protrudes from the shoulder.  This makes attaching/detaching the arm easier too, because the kevlar cord is easier to handle than steel cable.

 Not sure why I didn't countersink the bolts.  It might be because once I test-fit the arm together, I never took it apart.

This photo shows the elbow "piston" / return mechanism in a dismantled state.  A spring (later changed to a shorter spring than shown here) is attached to a wooden dowel that connects to a pivoting point on the forearm.  This keeps the elbow in position, but also lets it bounce around a little under its own weight.  The sheath that covers the spring - made from the cores of register paper rolls that I collected at my old bank job - is moved away to show the spring in this photo.  Normally it is zip tied to the upper end of the piston.  The same register paper cores also make up the columns between the two plates that make up the upper arm.

The assembled piston.  The wooden dowel is wrapped in foil tape.  It's not perfect but looks alright considering it's actually functional, and made of random scrap.

Here is the hand.  The fingers are made of paracord with the interior nylon strands removed and replaced with 8 gauge solid copper wire from my old solar job.  They are pliable enough to position but rigid enough to hold light objects.  The finger tips are rubber caps that were leftover from a variety pack which I bought for something on an older motorcycle, I don't remember what.  The hand pieces bolt together through the eye hook at the wrist, which allows it to be manually rotated.  Also visible in the above photo are the nuts that hold the arm to the shoulder.  These "strut nuts" are specifically designed for the aluminum channel that the shoulder is made out of, again both from my solar job.

I should have made the fingers out of those flexible BBQ lighters, but I didn't think of it until much later and I would have had to buy them.  

 Didn't need to countersink the bolts anyway.  This picture is before I fixed the corner near the elbow to match the foam.

Foam panels cover each part of the arm.  These are contact cemented on the borders only, so that if I ever have to take it apart, it won't be completely destroyed.  I would have preferred to make them removable with magnets, but I decided against it for the sake of simplicity and time.  The edges of all the Celtec parts are visible in the final assembly, so they were all painted ahead of time.

The bolt heads on the outer side of the foam panels are all fake, and I foolishly forgot to plan it out so that the fake bolts matched up to the real bolts.  You can see in the below photo that the piston anchor in the upper arm is slightly misaligned with the fake bolt.  Each of the real bolts were positioned based on mechanical necessity and a vague recollection of the source material.  Luckily it ended up being pretty close.

The hand was supposed to be white but for some reason I decided not to paint it.

The shoulder cover is a couple pieces of foam with a magnet bolted to it (wide fender washers keep it from pulling through the foam).  It mates up to another magnet on the arm so that it is easy to get to the bolts that hold the arm on.  Those leftover magnets were used to hold the magazine in place on my MIDA Multitools.  

The C-channel aluminum strut I use comes in two varieties - regular and deep.  I used the deep variety in the shoulder, but it turns out I should have used the regular, more shallow type.  This would have let the arm rest a little closer to the body.   I didn't notice that until final assembly, aka too-late-to-change-anything-cause-the-con-has-already-started time.

In the end, I didn't get enough range of motion out of the arm to pick people up and smash them into the ground.  I would have needed a more complicated, heavy, gear-driven shoulder, and it wasn't worth it.  I think people enjoyed shaking D-Walker's hand more anyway.