![]() ![]() There are few studies on the shape shifting from a kirigami sheet to 3D shapes with intrinsic curvature 34, 35, 36. The cuts impart new properties such as auxeticity 9, 11, stretchability 8, 10, 15, 22, 23, 24, conformability 8, multistability 25, and optical chirality 26, which have found broad applications in mechanical metamaterials 11, 15, 27, 28, stretchable devices 8, 10, 23, 29, 30, 3D mechanical self-assembly 31, tunable adhesion 32, and soft machines 17, 18, 33.ĭespite the advance, most studies focus on the local buckling of cut units in a thin sheet patterned with arrays of parallel slits or networked triangular or square cuts etc 8, 9, 10, 11, 12, 13, 15, 17, 18, generating quasi-3D pop-up structures without global curvatures. Starting from a thin sheet with patterned cuts, it can morph into varieties of 2D and pop-up 3D structures via rigid rotation mechanism 20 and/or out-of-plane buckling 21. ![]() Compared to continuous thin sheets, the kirigami sheet enables more freedom and flexibility in shape shifting through local or global deformation between cut units 17. ![]() Cuts divide the original continuous thin sheets into discretized cut units without sacrificing the global structural integrity. Kirigami, the traditional art of paper cutting, has recently emerged as a new promising approach for creating shape morphing structures and materials 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19. These shape-programmable materials are attractive for broad applications in programmable machines and robots 3, 4, functional biomedical devices 5, and four-dimensional (4D) printing 6, 7. Programmable shape shifting in different materials and structures was realized at all scales utilizing folding, bending, and buckling 2. This study opens a new avenue to encode boundary curvatures for shape-programing materials with potential applications in soft robotics and wearable devices.ĭesigning shape-programming materials from 2D thin sheets to 3D shapes has attracted broad and increasing interest in the past decades due to their novel materials properties imparted by geometrical shapes 1. Leveraging this strategy, we demonstrate its potential applications as a universal and nondestructive gripper for delicate objects, including live fish, raw egg yolk, and a human hair, as well as dynamically conformable heaters for human knees. The strategy largely simplifies the inverse design. Motivated by the Gauss-Bonnet theorem that correlates the geodesic curvature along the boundary with the Gaussian curvature, here, we exploit programming the curvature of cut boundaries rather than the complex cut patterns in kirigami sheets for target 3D curved morphologies through both forward and inverse designs. Existing kirigami designs for target 3D curved shapes rely on intricate cut patterns in thin sheets, making the inverse design challenging. ![]() As guidance (but no need to follow), you also provided a color palette that also used in this presentation.Kirigami, a traditional paper cutting art, offers a promising strategy for 2D-to-3D shape morphing through cut-guided deformation. so if you want to recolor you will not lose any texture or detail. Each shapes already crafted in one color. You can import the Figurá shapes into Photoshop brushes or just drag and drop the Transparent PNG into your favorite software. Use it as branding elements, PowerPoint background, wallpaper, art prints, or even to make a new phone case for you! Everything is possible with Figurá shapes both for digital or print usage. If you see inside the Figurá shapes, you can see the texture, but to get the maximum quality, you can use the grain texture that included also in this package.įigurá is suitable for you who are looking for playfulness and careless elements to put in your artworks. Each shape scanned into a digital version and crafted carefully to get the maximum shapes and detail inside the shape itself. Created from a real abstract shape made from ink, brush, and pastel. Figurá inspired by the beauty of elements in abstract painting, simple shapes, the roughness of each brushstroke inside the painting. ![]()
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