The WindFire Designs Circle Tool — CTØ11

—Coming soon—

The WindFire Designs Circle Tool — CTØ11

WindFire Designs Circle Tool

We have just released the WindFire Designs Circle Tool. Follow the link for full details on its functionality. 

WindFire Designs Circle Tool is made for beautiful circles. Specifically designed for countless uses, it provides elegant and precise utility for every maker.

• Consecutive circle pairs yield reinforcements with margins scaled for sewing. Skip sizes to vary the proportions.
• Quickly center circles within circles using the outer perimeters.
• Low heat diffusion stainless steel keeps heat in the cutting tip for clean edges and rapid cuts.
• Ergonomic and stable, it stays right where it's placed. It leaves your work visible, with your fingers safe and out of the way.

Lonely Bird enjoys Horizon Wind Oasis

Updated Making-of Gallery | ColorWing Flames

A glimpse into the long build process for some of our favorite show pieces. Two ColorWing Flames weighing only 4.2 ounces, 119 grams. See the gallery here.

Project Flowx in the Australian Landscape

To us, this work is like a gift we are receiving from our atmosphere. We are taking this all over our planet, using it as a sensor array for sampling moments in the sky. We're using this installation to capture these moments directly through experiences, and documenting them around the world. It's based in flight, and uses photography to show what has been, and painting to convey dreams about the sky that may or may not ever exist.

This moment was in Daylesford, Australia. The landscape here was made for kites. This is a hill called Snake Hill, which was originally settled and is still owned by Ruth's family. The sky and the wind this day was amazing. It was quite the welcome for us back to Australia. Just down the hill from this location is the old house. It's a beautiful place where in spite of the modern systems, one still feels that it's wise to be thankful for things like running water.

Gravity Flying

Prepping a bunch of new colors for a major installation.

Scale

Bridget with Flute

I made this after taking what I thought to be a beautiful photo of Bridget playing her flute. I have always liked the Alexander Calder wire faces and figurative wire work. I thought I could do something perhaps cleaner. This stainless wire is sewn to black board at the three mount points. I plan to go big with some of the next ones.

High-voltage static jumping off a kite line

In all my years flying kites, I have only encountered this 3 times. Phillip Chase was sitting on this bench flying a different kite and thought he heard the line singing on this one which was tied off. As he moved closer to check it out, it shocked him. I grabbed my camera to capture this real-life physics experiment. A few factors to note:

The bench was made of a plastic composite material, as was the line and the kite itself. The static would jump into mid air and make the same sound as jumping to our fingers if it was allowed to build up enough. The two other identical kites flying in the same conditions were not doing the same thing. They were flying on different line material, and tied off to different things, a person and a wooden fence. There was visible lightning and electrical activity in a storm that was about 1-3 miles to the West of us.

The other two times I have experienced this were both while riding in my kite buggy, and I started to get a shock through my leg to the metal frame of the buggy.

Listen through headphones or on good speakers for the full effect of this video.

Kites by Jordan Air Kites, Video by Tim Elverston and Phillip Chase. Shot at Anastasia State Park in FL on June 27th 2010 at 4pm.




I think the aspect of this instance which it truly worth noting is that we had two other kites 'showing' zero charging effect. They were at the same altitude, and only a few feet from this one. It's my guess that the charge was occurring on those as well, but had this one not been insulated, we would have never known that we were already the 'path of least resistance' on the other two kites that day. We would've gone home thinking that nothing abnormal had happened at all.

As in, you cant charge your body and get a spark to the door knob, while holding the door knob. You first have to build up the potential, and then discharge it. The other two kites were under constant discharge, but that doesn't mean that the electrons weren't dancing. It just means that this might be happening much more often than anyone is aware of.

Making 3 ColorWing Morphos

This is a time-lapse that shows the incredibly lengthy process of painting and building these kites. Included is the complete paint and sewing job of one of the three. There is a total of 13 hours per kite of painting, and roughly that of cutting and building as well. The paint when dry adds about 14 grams to the total weight of the kite. The actual process of painting takes many days however, because there are 4 layers per panel and each layer has to dry completely before the next is added. There are a few things this does not show like the initial cutting of the panels and the complete framing processes. The kites are Morpho Gliders designed by Tim Elverston. Graphics and related technologies are by Ruth Whiting. The wing span is 14 feet each, or 4.25 meters. Weight of each finished kite is around 285 grams, or around 10 ounces. Thanks and enjoy!



If you are enjoying the video, it is VERY worth setting playback to 720p HD and clicking full screen.

Music is by Floex and is used with permission from the artist.

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Also, some backstory:

Pictured briefly at the end of this video are deltas made at Jordan Air kites. I designed these deltas at jordan air after being exposed to George Peters kites via Kitelines Magazine back in 1993 and also a small 2 foot plastic delta [giant by Charlie's standards] made by Charlie Sotich in 1995 which kind of started my entire obsession with glider-deltas. I never made any more like them. But after finding an old one in a friend's garage, dean recently revisited the design and has made a few - check out his site for the story. Kinda cool to have it all come full circle.

Leather case for iPhone 4

So this is an iphone 4. Since I can't bring myself to buy a case for my phones, I have figured out a few ways to make them. This one is from leather. I got this phone because of the materials really -- they had me at glass and stainless. That and the camera. The images it takes are really amazing actually. Apparently there is supposed to be a signal attenuation problem with the new iphone when it's touched in a certain place. I can't seem to really make mine do it, but with this case it becomes a non issue anyway.

This is a detail of the well-protected corner.


Here you can clearly see the way each stitch hangs off the edge. There is a tension line that is trapped there and used as a draw string.

There are actually two tension lines. One for the front, and one for the back. As I was working with the leather, it was clear that it was going to need some kind of non-stretch solution for the main dimensional elements of the case. I used two super-thin dyneema lines.


Here you can see the 3 dashes along the side where the two lines get woven into the leather. This is so they can be losened when the case needs to come off which is not very often.



The scrap shows the corners that had to be cut. 8 tiny pieces of leather each had to have a bevel to sit flat against the face of the phone.



As far as the sewing went, it was pretty fiddly. I used a darning foot which is a tiny round foot for the machine. It's normally used with those clampy wooden rings that we used to see in people's houses back when they made stuff -- sniff. Anyway, this foot works well for the leather because it's tiny, and doesn't actually make contact with the base plate of the machine. There is a gap that it leaves that is just about the right height for the thickness of the leather, so you don't have it pressing down super hard. I have an industrial machine, but i didn't even have a chance to use the motor. I just turned the hand wheel with my hand. Each stitch is hand-placed.

an artificial ecosystem in the air

Five kites from our new series. Painted by Ruth Whiting, designed and built by Tim Elverston. This shot was taken in Cervia Italy at Artevento 2010. The three kites in the background each have 14 foot wingspans. The two in the foreground each have 8 foot wingspans.

New Morpho Grandes

First I cut them, and then Ruth paints these for about 13 hours or more. Then I meticulously build them, and then they fly. They're 4.2 meters wide and weigh 284 grams. This is the first of three.

Bone Kite - Stainless wire, carbon fiber, cuben cloth

These images show one of the first flights of my new kite. I call it the bone kite because of the way the fittings work. I didn't realize it at first, but as I started assembling these fittings I saw that they work a lot like our joints. It's actually technology that I first developed for the articulated lamps that I've been making. This kite flies really nicely right now, but I'm more excited about the wide range of adjustment built into the design. Also the sail unclips while leaving the frame self-supported. This means that I can easily clip in different sail profiles and materials for varied conditions. My next designs will be a new quadline, and also another single line that does away with the spine.

Double hinges

A spine and two articulated arms that will be leading edges for two wings.

Articulated carbon

These are fittings that I developed as hinges for my counterweighted lamps. Here I have miniaturized them for use in a kite I'm working on. Images of that to follow.

Sassy and the Flame

The fruit of the fire sticks

I've been making juggling sticks for a long time, but never made a set for fire until now. Here are the first shots from them. Taken by Paul Forrestel with my nikon at 2 and 3 second exposures.

Physics Sticks

I just worked out a path that I'm happy with for the design of one of my long-time favorite toys, juggling sticks. These are FAST, and feel almost mathematical when you use them. If you catch them just right, they will be found to be singing on the control stick. They would suck for a beginner perhaps, but wow! Earlier this month I ordered some materials for them and I've been playing with different ways of putting them together. This is carbon, silicone, webbing, and merino. I'm keen! And these are by way far, the absolute fastest sticks I have ever used. Previous designs of mine were fiberglass, latex, and tennis balls. The webbing is hot because the weight is totally adjustable.

And then there were two

I've been developing these counterweighted lamps for about 2 months now. It started when our couch became an epicenter for handwork. I have always worked on various things there, but the fact that our friends started knitting and drawing there meant that we needed more specific lighting to accommodate the detailed work. I made the first one and started on the second one right after it was done. The second time around, it went a lot faster to do the arm. My sitting and staring time was far reduced because I'd already designed the fittings for the arm. The base was a different story. I wanted to move away from the wood base in the first lamp and make one using a consistent set of materials - carbon tubes and stainless wire. I figured this would unify the design, and I think it has. The next one will have a more shapely base, although I do enjoy this one.

I use the beautifully precise bearing in dead hard drives for the main counterweight - I strip parts out until I have the right weight, then I drill a hole in the top and feed the spectra around the center drum. This handles movement for two points in the articulated structure - the top point and the mid point. The lamps can be adjusted with very minimal force - two fingers to any position within their range.

In developing these stainless wire fittings for carbon tubes on both kites and lamps, I have really felt tested by the material. It is a real study in minimalism. These lamps have the smallest amount of wire that I could possibly use. What look like flourishes on the fittings are just clean ways to deal with the ends of wire that don't involve stabbing the user. The wire is both very forgiving, and totally relentless in the demand for precision. The annealing is absolute and wonderfully consistent when the wire first comes out of the can, but as soon as you commit to a bend that is beyond that limit, the wire hardens, never to return to the soft state that it started in. You have to work in one direction. There is no going back and adjusting certain aspects of the form.

The Flame at the Drop Zone

I love these shapes.

Hold a Sky Photon by the tail

I made this Sky Photon a long time ago as a wedding gift for some friends. I finally got to spend some time with it over this long weekend. In spite of very poor quality wind, it was tied off to my back pack all day long. I had some fun with one of the only relaunches.