A biopolymer film made from chitin — the structural polymer in shellfish shells, fungal cell walls, and insect cuticles — after partial removal of acetyl groups. Antibacterial, biodegradable, edible at food-grade purity, and the most-explored marine-shellfish-waste-stream-derived biomaterial of the last decade. Active research subject across packaging, wound-dressing, and food-coating applications.
Linear (1→4)-linked 2-amino-2-deoxy-β-D-glucan derived from chitin (mostly shrimp / crab / krill exoskeleton waste, increasingly mushroom-fermentation routes). Degree of deacetylation ~70–95% for film-grade material. Cast films from acetic-acid solution are tensile 30–60 MPa, modulus 1–3 GPa. Dissolves in mildly acidic aqueous solution; insoluble in water near neutral pH. Antibacterial action against gram-positive and gram-negative organisms documented (mechanism: cell-wall disruption at the chitosan-cell interface).
Principled BSDF defaults derived from the sphere transparent finish. Reasonable seed for Blender, Substance, Keyshot, Rhino — tune per material. Or grab the whole library at once: ForMaterials library →
# finish: transparent albedo #e8c898 metallic 0.00 roughness 0.05 ior 1.50 transmission 1.00 clearcoat 0.00 sheen 0.00 anisotropic 0.00 thickness 1.00 attenuation_distance 0.60
{
"albedo": "#e8c898",
"metallic": 0.0,
"roughness": 0.05,
"ior": 1.5,
"transmission": 1.0,
"clearcoat": 0.0,
"sheen": 0.0,
"anisotropic": 0.0,
"thickness": 1.0,
"attenuation_distance": 0.6
}
# Blender 4.x — Principled BSDF
# Chitosan Film · finish: transparent
import bpy
mat = bpy.data.materials.new(name="mat_chitosan_film")
mat.use_nodes = True
bsdf = mat.node_tree.nodes["Principled BSDF"]
bsdf.inputs["Base Color"].default_value = (0.807, 0.5776, 0.314, 1.0)
bsdf.inputs["Metallic"].default_value = 0.000
bsdf.inputs["Roughness"].default_value = 0.050
bsdf.inputs["IOR"].default_value = 1.500
bsdf.inputs["Transmission Weight"].default_value = 1.000
bsdf.inputs["Coat Weight"].default_value = 0.000
bsdf.inputs["Sheen Weight"].default_value = 0.000
bsdf.inputs["Anisotropic"].default_value = 0.000
# KeyShot 11+ — lux Python API, Generic material
# Chitosan Film · finish: transparent
# Run from Window → Scripting Console
import lux
mat = lux.createMaterial(name="mat_chitosan_film", materialType="Generic")
mat.setProperty("diffuse", (232, 200, 152)) # 8-bit sRGB
mat.setProperty("metallic", 0.000)
mat.setProperty("roughness", 0.050)
mat.setProperty("indexOfRefraction", 1.500)
mat.setProperty("transparency", 1.000)
mat.setProperty("coatingWeight", 0.000)
{
"_format": "Substance Designer / Painter \u2014 pbrMetalRough constants",
"_about": "Chitosan Film \u00b7 finish: transparent",
"baseColor": {
"r": 0.807,
"g": 0.5776,
"b": 0.314
},
"metallic": 0.0,
"roughness": 0.05,
"ior": 1.5,
"opacity": 0.0,
"anisotropyLevel": 0.0,
"_notes": "Channels listed are the standard Substance pbrMetalRough output. Drop into a Uniform Color node per channel, or as the constant input on a layered stack."
}
{
"asset": {
"version": "2.0",
"generator": "ForMatter"
},
"materials": [
{
"name": "mat_chitosan_film",
"pbrMetallicRoughness": {
"baseColorFactor": [
0.807,
0.5776,
0.314,
1.0
],
"metallicFactor": 0.0,
"roughnessFactor": 0.05
},
"extensions": {
"KHR_materials_transmission": {
"transmissionFactor": 1.0
}
}
}
]
}
# USD Preview Surface — UsdShade.MaterialLook prim attributes
# Chitosan Film · finish: transparent
def Material "mat_chitosan_film" {
token outputs:surface.connect = </mat_chitosan_film/PreviewSurface.outputs:surface>
def Shader "PreviewSurface" {
uniform token info:id = "UsdPreviewSurface"
color3f inputs:diffuseColor = (0.807, 0.5776, 0.314)
float inputs:metallic = 0.000
float inputs:roughness = 0.050
float inputs:ior = 1.500
float inputs:opacity = 0.000
float inputs:clearcoat = 0.000
token outputs:surface
}
}
Specialty chitosan-film research literature; medical-device chitosan applications.
House vocabulary — terms ForMatter uses with intent.
Materials and processes for people who design and make things.
A local-first library of materials, processes, applications, and finishes — equal weight, citable everywhere, with cost-over-volume curves, trade-off profiles, equipment-tier filters, and second-life paths layered onto the data so a student can move from "what is this" toward "what's actually buildable here, now, by me." Part of the renato.design ecosystem — sibling of Plenum, Specimen, Ingenue, gesture, graf, and the Renato Rhino plug-ins. Form and matter, inseparable.
Half of teaching materials is teaching how the material is made into the thing. The standard subscription library was always light on that half. The wedge here isn't better samples or a prettier interface — it's treating Process as a peer entity, not a footnote.
Conway's Material World on raw materials, Lefteri's Making It on processes, Forty's Concrete and Culture, Sparke's Design in Context, Bürdek's Design: History, Theory and Practice of Product Design, Schröpfer's Material Design on materials in architecture, Winchester's The Perfectionists on tolerance, Minshall's Your Life Is Manufactured on the global supply chain, von Busch's Making Trouble on material activism, Were's How Materials Matter, Hegger / Drexler / Zeumer's Basics Materials, Untracht and McCreight on metalsmithing, USDA Forest Products Lab on woods, GIA on gemstones, Schott / CoorsTek / Toray / Owens Corning datasheets, MakeItFrom for verifiable property numbers, ASM Handbook, ISO standards. Museum holdings draw from the Met, MAD, V&A, Smithsonian American Art Museum, Newark Museum of Art, British Museum, Heard Museum, Smithsonian NMAI, Eiteljorg Museum, Philadelphia Museum of Art, Cranbrook Art Museum, and Grand Rapids Art Museum — collection-record permalinks only, designer overview pages and exhibition listings excluded. Voice blocks now ride on every entry kind — material, process, application, and finish — and include Ruskin on iron, Anni Albers on twining, Greg Lynn on the shred-and-teeth NURBS lineage, Pugin on the metal that won't be hammered, Barthes / Yanagi / Benjamin channeled within their philosophy; Sparke, Bürdek, Forty, Conway, Schröpfer, Minshall, von Busch, Lefteri, Pat Pruitt, Mary Lee Hu, Tom Joyce, Albert Paley, and the rest of the contemporary makers quoted verbatim with citation. All cited.
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