With one project completed, it didn’t take long to move onto the next one. This time with more knowledge of what to do, how to do it more efficiently, and the stability needed to support everything.
Gambol Shroud is one of the most appealing designs from the show so far to me. While we could have taken the time to figure out how to make it actually “transform,” we were running at a speed of 1 weapon per month, so we chose to make the simple basic form. As usual, given the size of this weapon, Monty needed to break it apart and figure out where to put seams. This time we were able to figure out where the best locations would be while incorporating the sanding I would need to do to it along the way.
Beginning to segmented the model for print.
An exploded view of all the pieces printed for Gambol Shroud. The smaller red pieces were insert connectors for the sheath.
Each print duration varies based on quality level, infill level, and the size/amount of models on the build plate. We learned from the process of making Myrtenaster that we should print most things vertically, while taking into consideration that we could not print anything more than a 90 degree angle; things like the trigger guard were segmented to allow for less work in the clean up stage.
This particular print took about 18 hours.
Test-fitting the assembly, and gluing things into place with painter’s tape to help secure things while the glue cured.
I used auto-body filler “Bondo” to smooth out the imperfections from both heat-warped gaps between segments and the normal banding that comes with a finished print.
The blade has been sanded, the bits of pink remaining the only useful part of the Bondo from the previous picture. You can see the sheath is still in the process of gluing.
Blake Belladonna, the Gambol Shroud’s wielder, has a sort of flame emblem that is also present on the sword hilt. I imported an Illustrator file to Maya and extruded the symbol to give it some thickness before printing in a white filament so as to avoid needing paint.
While I did my best to smooth out the sheath, it was eventually Monty who decided that the finish was simply not smooth enough. Going from there, I ordered some 1mm Polyvinyl Chloride sheets (also known as PVC Foam, or Sintra) to not only create a better surface for painting, but also to offer some stability over the segments.
The blade itself also went on to require more sanding and paint.
Having carefully traced the patterns onto my PVC sheets, I used an X-acto knife to carve out my pieces. I lay down the Loctite Super Glue in a zig-zag fashion to ensure 0 peeling, with an outline of glue for added peace of mind.
The sword’s blade, 100% PLA, and the sheath, PLA covered in 1mm PVC foam cut to size, filled with Bondo.
The glock did not require any extra treatment, and so I went ahead with priming everything together with Rustoleum’s Gray Primer. I had Monty model and print the missing piece at the bottom of the glock for affixing the ribbon later on before moving ahead.
A couple coats of glossy black were the finishing touch on the most part. The gray piece (not pictured here) was actually the primer stage, while the white stripes were added a few days after everything had completely dried.
Gluing the blade to the hilt to the glock was a challenging task requiring two clamps, one to press the sides of the glock onto the inserted hilt, and one to push the hilt into the overhanging chamber for the bullets.
All that was left was tying the signature ribbon to the bottom and it was complete! Were this to be revisited, the sheath would be remodeled to account for the paint/primer thickness, and possibly be lined with some sort of felt or other soft material to prevent the paint from scratching off the blade.
Such as the trend began, we continued to print stands for everything.
On display at the Rooster Teeth Expo, 2014.