Introduction to 3D printing and its applications within Art and Design
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“It is not craft as ‘handicraft’ that defines contemporary craftsmanship: it is craft as knowledge that empowers a maker to take charge of technology.” (Peter Dormer). This SlideShare is an introduction to 3D printing, illustrated with just a very small selection of appplications, mostly within applied art and designer making. Hoping this is inspirational and encourages you to try it out for yourself!
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Introduction to 3D printing and its applications within Art and Design
- 1. 3D Printing: an introduction and its applications within the applied arts and designer making
- 2. Presentation by Ann Marie Shillito, Anarkik3D Ltd, for Edinburgh ‘FLASH’ Event at Gayfield Creative Spaces, Aug 2014. Organised by the Edinburgh 3D Printing Knowledge Group And sponsored by Kopparberg Ciders. “It is not craft as ‘handicraft’ that defines contemporary craftsmanship: it is craft as knowledge that empowers a maker to take charge of technology.” Peter Dormer
- 3. 3D printers: Desktop / personal / consumer ~ Kit to build yourself ~ ready built 3 Ultimaker2 Maxit3D from kit
- 4. 4 More desktop / personal / consumer 3D printers: ~ Kits to build yourself ~ ready built
- 5. 5 Getting a print made: 3D Print Hubs: i.e. Edin3D uses Ultimaker2 Object below: Ultimaker Robots Material: PLA material Ross McFarland Founder of Edin3D ross@edin3d.com | +44 77459 44661 | www.edin3d.com
- 6. Ceramic forms 3D printed 6 by Jonathon Keep Printer : Delta 3D Material: clay Method: extrusion http://www.keep-art.co.uk
- 7. Unfold: Rapman 3D printer for extruding clay 7 Printer: Rapman Material: clay Method: extrusion Project developed by Unfold
- 8. 8 Printer: Rapman Material: precious metal clay (silver) Method: extrusion Project developed by Esteban Schunemann
- 9. 9 Printer: Rapman (solar powered) Material: desert sand Method: sintering using focused sun rays Project developed by Marcus Kayser
- 10. Consumer 3D printer for business: Jewellery by HotPopFactory Material: ABS or PLA, Method: filament extruded 10
- 11. Consumer 3D printer for business: UP 3DPrinter Material: ABS or PLA Method: filament extrusion Finish: flocking Jewellery by Elizabeth Armour (Dundee)
- 12. Process to 3D printing Digital model ‘bacon-sliced. Digital slices sent to printer Layers physically built into 3D object. Different systems & range of materials. (3a) Extrusions: plastics, edibles, composites (3b) Sintered: plastics, starches, metals Other materials/systems: binders printed in , photo sensitive resin, sheet material (paper, plastics) 3D digital data = access to 3D printing
- 13. For interest: Gartner’s annual technology Hype Cycle 13 chart shows 3D printing in two positions.
- 14. 14 Applications: edible decorations Printer: 3D Systems Chef Jet Material: sugar Method: liquid binder printed into powdered sugar System was developed by Sugarlab, now part of 3DSys.
- 15. 15 Applications: Art Material: ceramic powder By Michael Eden Method: liquid binder printed into powdered material
- 16. The tools we use as humans are extensions of our bodies. It is not hands that have built our world, it is tools we have made. Peter Musson 2011
- 17. Application: applied 17 art Printer: ? Material: polyamide Method: sintering By Geoff Mann
- 18. Application: applied art Printer: Delta 3D Material: clay Method: extrusion By Jonathan Keep 18
- 19. 19 Application: practical (phone case) Printer: Ultimaker2 Material: PLA Method: filament extrusion Project: ‘Fairphone’ 3D printed by Edin3D
- 20. Application: affordable prosthetic limbs Printer: various (personal /consumer types) www.enablingthefuture.org 20 Material: PLA Method: filament extrusion Project: global collaborations to print parts for others to add electronics (non frivolous side of 3D printing) www.enablingthefuture.org
- 21. 21
- 22. Ultimaker, a leading 3D printer manufacturer and its open source platform YouMagine support the e-NABLE community in creating 3D printed hand prosthetics.
- 23. 23 Application: wireless earbuds Printer: ? Material: polyamide? Finishing: advanced digital signal processormetal plating, gemstones, etc Project: custom fit from scanned date of individual’s ear, & designed to match wearer’s personal style
- 24. 24 Application: medical (3D data from bone scans) Printer: Ultimaker2 Material: PLA material Project: Student PHD Thesis – Talus (feet) Printed by Edin3D
- 25. Illuminated pins for dancers at Northern Ceilidh, Dundee 2014 3D printer: MakLab, in ABS/PLA Finish: dyed and set with LEDs and fastenings By Elizabeth Armour 25
- 26. 26 Page of shoes Application: Simple, DIY Shoes Printer: Cube 3D printer, any home printer Materials: ABS or PLA (printed in three parts, and fitted together. ) By United Nude founder, Rem D Koolhaas Application: Aphrodite shoes. Printer: Makerbot Replicator 2 and any home printer Materials: ABS, PLA, bronze, or Laywood filament, straps in Ninjaflex (printed in 2 parts) By Michele Badia
- 27. 27 Application: Inner Leaf shoe 3D printed Shoe Collection. Printer: ?, Materials: Polyamide? By Janina Alleyne,
- 28. Shoe by Francis Bitonti. The pair shown at the 3DPrintShow 2014 in London
- 29. The inBloom Dress: developed out of the desire to push the capabilities of what could be printed on an Ultimaker 3D printer using flexible PLA filament. 29 Dress design: XYZ Workshop
- 30. Collaborate with others: open source element dress by Dutch fashion designer Anouk Wipprecht •Open invitation to all to download, edit base file of particle through the TinkerCAD base template •Aim: collect about 150 parts created around the world, linked together into a item for Fashion Show
- 31. 31 Diego Zamora: PhD Project: 3D printing directly onto fabric
- 32. 2 garments by Pringles with 3D printed elements and exhibited at the 3DPrintShow2014 in London 32
- 33. 33 As the more flexible materials become accessible, the dresses will be so much more wearable, and less solid cage-like. Main image: The Verlan dress, from a Francis Bitonti project with students
- 34. .SPIRE. 3D printed dress by Alexis Walsh and Ross Leonardy. 400+ individual tiled pieces, printed in nylon plastic.
- 35. 35 Noa Raviv: Hard copy fashion collection: 3D printed by Stratasys. The garments consist of tull and silk organza fabrics with 3D printed ornamentation.
- 36. Much of her Spring 2015 collection constructed from 3D printed fabrics & embellishments. 36 Avant garde fashion designer Katya Leonovich
- 37. Application: applied art – small silver bowl cast from 3D printed wax model. Model created using her haptic hammering system Method: deposition Finishing: lost wax casting into silver. Hand polishing. By Kathryn Hinton 37
- 38. Application: furniture Project: to recreate wood Printer: developed by 4AXYZ furniture company (Samir Shah) Material: wood powder. Method: specialised glue binder printed in. http://4axyz.com 38
- 39. 39 Application: applied art By Gordon Burnett Printer: unknown Material: photosensitive resin Method: laser setting Project: Combining advantages of traditional and cutting-edge technology
- 40. 40 Project: Combining advantages of traditional Mokumegane and lost wax casting and cutting-edge technology (CAD, 3D printed) Application: applied art By Jae-won Yoon Printer: unknown Material: photosensitive resin or wax Method: laser setting or deposition
- 41. Jewellery and sculptural objects Designed using Anarkik 3D Design and Rhino by Farah Bandookwala. 41
- 42. Application: applied art (jewellery) By Ann Marie Shillito Printer: unknown (printed by i.materialise) Material: titanium (gold is hand wrought). Method: direct metal laser sintering 42
- 43. 43 3D printed rings Designed using Anarkik 3D Design package by Birgit Laken
- 44. Application: applied art (jewellery) By Ann Marie Shillito. Same design, different materials Printer: Concept Laser and Ultimaker2 Materials: Bronze and blue PLA. Method: direct metal laser sintering in bronze, and filament extrusion 44
- 45. To 3D print you need a digital 3D model. ~ model has to be ‘water-tight’ : no inverted triangles ~ no holes, gaps in mesh ~ no very thin walls if hollow Most important is having a good 3D model! If ‘good’ ~ digital model ‘bacon-sliced digital slices (in g-code) sent to printer. 45
- 46. To get a good digital 3D model: 1. you can download someone else’s 3D model 2. you can ‘scan’ an object ….. or yourself 3. you can use software programmes to convert data into a 3D form 4. you can create it yourself from scratch … 46
- 47. Application: Selfies from full body scans! (Asda now scans and gets these 3D printed. Available now at their Edinburgh store in The Jewel.) 47
- 48. 48 Acquiring 3D digital model: Scanning. By Geoff Mann Printer: Unknown Material: polyamide Finishing: Plated
- 49. Acquiring 3D digital model: capturing sound, using algorithms to transform into printable forms By SHAPES iN PLAY Printer: Unknown Material: polyamide
- 50. 50 Acquiring 3D digital model: using algorithms to cluster units into printable forms By Justin Marshall Printer: Unknown Material: polyamide
- 51. Acquiring 3D digital model: using coding (Grasshopper) to create precision patterns with moire effect when units printed By Lynn MacLachlan Printer: Unknown Material: polyamide Finishing: dyeing 51
- 52. 52 By Unfold Using a gestural system for digital form-making for 3D printing.
- 53. By Kathryn Hinton 53 Using haptic hammering system for digital form-making.
- 54. Acquiring 3D digital model: downloading a 3D digital model (Lumia829 mobile phone case), manipulating it to personalise and getting it 3D printed. This one titled ‘Above the Clouds’. 54
- 55. Acquiring 3D digital model: 3D CAD (Trispectives) Printer: Unknown (extruding filament) Material: ABS (Polymer) Finish: acrylic paint and gold leaf By Ann Marie Shillito in 1998 55
- 56. Acquiring 3D digital model: haptic 3D modelling software (Anarkik 3D Design: : 3DPrintShow Global Award winner: Best Consumer Software in 2013 ~ for designer makers and artists, ~ creative persons, all ages ~ non-CAD users
- 57. TinkerCAD Sketchup 57 Anarkik 3D Design Grasshopper Software programmes to create digital data: Computer Aided Design (CAD) for designing objects Illustration adapted from Sketchup Presentation for i.materialise conference. Can be seen here http://vimeo.com/11322333
- 58. 58 Acquiring 3D digital model: Anarkik 3D Design haptic package Printer: various (mostly sintering) Material: Polyamide, metal Finish: dyes and acrylic paint By 2 artists: Farah Bandookwall and Birgit Laken •www.anarkik3d.co.uk Farah Bandookwala Birgit Laken
- 59. Project: ‘3D Consequences’ Acquiring 3D digital model: Anarkik 3D Design haptic package By 4 artists: Farah Bandookwala, Elizabeth Armour, Lucy Robertson, Ann Marie Shillito
- 60. 3D Consequences Pilot Project •12 digital models for 3D printing •8 3D printed models: sponsorship from Sculpteo
- 61. 6 jewellery students, struggling to use (Rhino). Digital results: 1 day workshop (Anarkik 3D Design)
- 62. 6 pieces of 3D printed jewellery, resulting from 1 day workshop (Anarkik 3D Design) 62
- 63. Book by Ann Marie Shillito with sections on designing and how to access 3D printing. 63
- 64. 64 Be inspired, get 3D printing! And thank you. Ann Marie Shillito [CEO of Anarkik3D Ltd, Author: ‘Digital Crafts: Industrial Technologies for Applied Artists and Designer Makers’. Freeman of the Worshipful Company of Goldsmiths (by redemption), Fellow of the RSA (2014)]
Notas del editor
- As you will gather I am very passionate about 3D printing. Here is a selection of the designs I have had 3D printed over the years, and printed in various materials. Top: digital image (CAD), ABS with acrylic paint, digital image(Anarkik 3D Design)/ titanium (hand wrought gold), ‘cast silver ‘ (render), Middle: paper, resin, polyamide (titanium ring), polyamide. Bottom: bronze, PLA, bronze, ceramic, bronze.
- Ann Marie Shillito set up the informal cluster ‘Edinburgh 3D Printing Knowledge Group’ to bring together the different 3D printing interests in and around Edinburgh. The main aim of the Group is to make 3D printing more accessible to all through hands on events and this FLASH event is the first in a series. As members of the group are mostly from the arts sectors, the applied arts and designer-making, the bias will tend towards the general interests of the creatively artistic which covers almost everyone! This first event is sponsored by Kopparberg Ciders. Ann Marie Shillito, as a practicing designer maker / contemporary jeweller, is passionate about the power of making. She is founder and CEO of Anarkik3D (haptic 3D modelling software for the creatively artistic for 3D printing), honorary research fellow (Edinburgh College of Art) and author of a book (‘Digital Crafts: Industrial Technologies for Applied Artists and Designer Makers’).
- On the consumer level, there are too many printers to include! Basically there are 2 types: build-it yourself (RepRap types) and ready built (again many built on the RepRAp which Adrian Bowyer put out as open source for developers to work on).
- If you don’t have your own printer there are many services and companies where you can get your models 3D printed. Edin3D is part of a global group, 3D HUB, to get models 3D printed as close to home as possible!
- Jonathan Keep built and adapts 3D printers to extrude clay. He digitally creates his models using coding (i.e. Grasshopper) and these are then 3D printed on the Delta 3D printer that he has adapted to print in clay, and finally the 3D printed form is glazed and fired in the normal way.
- Likewise Unfold have adapted the Rapman 3D printer to extrude clay. More about them later.
- As part of his academic research at Brunel University, Esteban is investigating the deposition of paste –like materials and one of these is precious metal clay. The development of the process was an attempt to bring workmanship of risk to additive manufacturing, to bring craft thinking and materiality to digital making. Metal clay by nature is very unpredictable, both when deposited and when fired, this element of risk makes the process more open to happy accidents. 3D printing and the filament deposition is controlled by the G-code which Esteban writes, and the PMC material reformulated by hand for deposition, both bringing greater ownership as there are no automated tools or programs interpreting his intention. After firing, rings can be hammered to size them, demonstrating that the metal clay is fully sintered as the piece doesn’t fracture. Work is polished and a patina applied to add contrast between the layers. This is of great interest to jewellers as this is a more direct way of producing work in silver than the lost wax process although it still has specific constraints. This is also an alternative method to 3D printing by laser sintering precious metal granules.
- As a Royal College of Art MA student Markus Kayser designed and built a 3D printing system that uses sunlight as energy and sand, which is silica, as his material. Markus lugged his 3D printer into the Sahara to focus the intense Egyptian sun’s rays through a ‘Fresnel lens’ to melt the sand, and solidifies as glass to create his granular glass bowls. For me, these are beautifully poetic, technology aligned ‘where energy and material occur in abundance’.
- Small businesses are now desktop manufacturing using consumer level 3D printers. Developments are fast and various.
- Where degrees of accuracy are not critical and the hardware is to hand, designer makers will use and subvert these tools and equipment for that ‘what if’ exploration. An underlying element of creativity and innovation is the chance of spotting something different and the opportunity to say ‘stop there’ or ‘what if’, to experiment and thereby discover new possibilities inherent at each stage of the designing and making process. With 3D printing equipment to hand serendipitious occurrences and new and innovative events are more likely to happen.
- Is there a need to explain 3D printing concept? What I will emphasise is that 3D printing is no longer just an industry based technology and just for prototyping. 3D printing is at the stage of beginning to provide amazing opportunities for designer makers and applied artists, and as with Jonathan’s ceramics, direct metal sintering, 3D printing in glass and ceramics, polyamides, rubber and resins mean the printed object is the end product and with the quality improving significantly, the business model and proposition become very attractive.
- Here is Gartner’s annual technology Hype Cycle chart which shows 3D printing in two positions. Consumer 3D printing has just passed the peak of inflated expectations and heading into the ‘trough of disillusionment’! Enterprise 3D printing (ie used in and by industry) has moved out of the ‘trough of disillusionment and is moving up the ‘slope of enlightment!
- Designer makers and applied artists using 3D printers in their work includes those in the confectionary industries with the introduction of 3D printers such as Chef Jet and the range of adaptions to rxtrude food pastes such as chocolate, biscuit and pizza dough.
- Michael Eden is also part of this growing community of makers getting their hands dirty digitally, hacking the software, tinkering with the hardware and in doing so creating poetic and meaningful objects. He refers to himself as a maker in the sense of creator, happy to explore the overlapping ‘grey’ area between art, design and craft using whatever he needs to communicate an idea or story in three-dimensional form, be it a computer, potter’s wheel, 3D printing machine or kiln; they are all tools requiring skill to do the job well. Designer makers continually search for the tools and methods they need to manipulate and process their materials. This might mean making the tools themselves from scratch or readjusting those available and at hand to be more specifically effective, functional, and suited to the job needing done. Michael adapted Rhinoscript to digitally emulate the technique of coiled pottery construction, manipulating, stretching and shaping until the desired form was created. Through collaboration and experimenting with heat-treated ZCorp plaster his 3D printed pieces have been successfully biscuit fired, then glazed and fired in his studio.
- Geoff used motion capture techniques to fix the path of a moth flying around a lightbulb. Computer aided design software (CAD) was then used to ‘extrude’ the profile of the moth along the path and this form was then 3D printed in polyamide. The complexity of the work is wonderful. This though can be as intimidating to the non-CAD user as the CAD packages used to create the work!
- Jonathan Keep has also long used computer software to develop new ceramic forms. With an interest in elemental, natural mathematical patterns and structures that underpin all nature he applies the underlying numerical code, written in computer code to shape his pots.
- One way to get models to 3D print is to download them from the growing range of services being developed to give access to 3D printing.
- Owners of consumer 3D printers are getting together to put their expertise and hardware to very valuable projects, such as e-NABLE, building the parts for ‘cool’ prosthethics for people globally who need a helping hand to be able to live a normal independent life
- Ultimaker, a leading 3D printer manufacturer and open source platform YouMagine for sharing 3D models supports the e-NABLE community in creating 3D printed hand prosthetics.
- 3D printing is having the greatest impact in the medical sectors where it is also being used by surgeons to plan major surgery and procedures. Scans can be easily developed into 3D proms for 3D printing.
- 3D printing is a valuable ‘tool’ to enable artists and designers to grow their businesses as the technology offers exciting possibilities, such as this project, carried out by Elizabeth Armour, for 200 illuminated pins for dancers to wear at Northern Ceilidh, held in Dundee in August 2014. The movement of the dancing was captured as streams of light created from the LEDs in the pins.
- 3D printed shoes! (A personal comment: they seem to be mostly designed by guys for fantasy women! Comments about this would be interesting feedback)
- Shoe by Francis Bitonti. The pair shown at the 3DPrintShow 2014 in London
- The inBloom Dress was developed out of the desire to push the capabilities of what could be printed on an Ultimaker 3D printer using Flexible PLA filament. The dress first appeared on the catwalk in the 3D Printshow in New York February 2014 where XYZ Workshop and Ultimaker stole the show. XYZ Workshop released the Fashion Suite by XYZ Workshop x Ultimaker and it is available from YouMagine to download for free. It consists of the inBloom Dress, Flexible Watches, Women’s Clutches and Men’s Wallets. In the near future it will be expanded with even more free fashion items.
- Here is the Project shout-out from a Dutch based fashion designer named Anouk Wipprecht. Let's start a DESIGN-RIOT! THE OPEN SOURCE DRESS.Me and Polaire teamed up to invent a dress that is created by NONE of us, instead - we want to create it with THE WORLD. With you. By submitting your own element to us to be connected all together into one dress! We have exactly TWO WEEKS time to collect about 150 parts from ALL over the world; Download and edit the base file of the particle through the following file:TINKERCAD BASE TEMPLATE (our customised base to play with)https://tinkercad.com/things/as7BMJwfbZG-particled...
- Diego Zamora is a PhD student at Edinburgh College of Art, University of Edinburgh and one of his projects is investigation the potential of 3D printing directly onto and into fabrics.
- These 2 garments are by Pringles, the Scottish knitwear firm and they have added 3D printed elements. I think these have all been stitched into place but they will get to the stage where these are printed directly into the fabric. These pieces were exhibited at the 3DPrintShow2014 in London.
- Like shoes, some 3D printed fashion seems to be mostly designed for fantasy women by men and women. As the more flexible materials become accessible, the dresses will be so much more wearable, and less solid cage-like stuff! The main dress is The Verlan dress, 3d printed on a Makerbot. The dress is the final result of the three-week digital fashion workshop held by fashion designer Fransis Bitonti, in New York. The theme of the project was not to design a piece of clothing but to design a method of making form using digital designing on computer.
- Alexis Walsh and Ross Leonardy designed the .SPIRE. 3D printed dress in 2014 made up of 400+ individual tiled pieces, printed in nylon plastic, utilizing Shapeways. Prototypes of the textiles were created using MakerBot and assembled by hand using metal ring connections.
- Noa Raviv’s hard copy 3D printed fashion collection, combining different materials and technologies to create great wearable art. The 3D printed parts are by Stratasys.
- On a very much more wearable scale, avant garde fashion designer Katya Leonovich debuted her new Spring 2015 line at this years Mercedes Benz Fashion Week in New York City where apparently most of her collection consisted of clothing constructed from 3D printed fabrics and embellishments. In the photos it’s hard to see detail to decide if and how the fabric is 3D printed but there is a stunning video here about 3D printing flexible textile structures: http://www.youtube.com/watch?v=dpL0Y2l_BSI. http://www.katyaleonovich.com/ http://mbfashionweek.com/
- Another sector that has already embraces 3D printing technology is the designer makers: applied artists, 3D artists and designers
- Samir Shah’s furniture company in Vancouver, plans to use their own 3D printing process to change the way furniture is made by transforming real wood into a 3D printable material stabilised with specialised glues to appear as solid wood in the finished product. Their final product he says has the strength and characteristics of wood, the texture, the grains and colour you would expect of any other wood furniture. http://www.3dprinterworld.com/article/4-axyz-making-customized-furniture-with-3d-printing-technology
- Gordon Burnett, a silversmith using various software and CAD/CAM tools, embraces the interrelationship with, and the interdependence of, materials and tools: ‘materials and tools work together in partnership with the act of making and the maker in a relationship of co-responsibility.’ He spent a year at Monash University, Melbourne, Australia being more creatively fluid within the digital environment, learning ‘Maya’ software, and having the luxury of unrestricted access to an 3D printing machine. Symbolic functional objects were ‘grown’ digitally then cast in metal, glass and ceramic: touching them, feeling their weight, sensing their reality once out of their virtual world is critical for assessing their qualitative value. My intention with this presentation is to demonstrate that designer makers have the knowledge, skills and handcrafts, gained from physically handling and working with materials, to straddle the analogue and digital worlds, They have the ability to transfer their expertise into the digital arena and apply real world constraints to extend boundaries by working virtually. Increasing numbers of designer makers are accessing digital technologies to explore the potential for themselves. They tend not to use computer technologies to replace existing skills or mimic the nature of pre-existing modes of production. They are used to extend their practices in order to create works that were previously impossible or impracticable to make or even consider.
- Jae-won contrasts hand-wrought Mokumegane elements with 3D printed structure, designed using CAD and cast in Sterling Silver, to combine the advantages of traditional skills and methods with cutting-edge knowledge to create his work. He says that by using cad/cam, he can design detailed and delicate work which is not possible by hand craft alone. in contrast, mokumegane creates the natural patterns which cannot be expressed by computers. Access to 3D printing and its different additive technologies is pretty straightforward now. 3D printing service providers have introduced a more user-friendly entrée to these technologies and available materials span from paper and plastics to titanium and gold.
- Farah Bandookwala, a young new Zealand designer, is fascinated by the way haptic 3D modelling and 3D printing is helping to break down barriers in terms of technical skill for speeding up the development process. She looks forward to the day when we might desktop design and manufacture most objects, rather than mass-produce in factories as to attract new customers, 3D print service providers are pushing the costs of manufacture down and the quality of finish up. 3D prints are now of a quality sufficient to be final finished pieces thus bypassing traditional production methods such as stamping and casting and the constraints they impose on design.
- With an exception or two, such as Geoff Mann’s candelabra, it is the 3D printed part that is the end object. And selective laser melting (SLM) has expanded the options for 3D printing metal to gold and silver, which are fully melted to give solid non-porous end products. Plus other materials such as glass and ceramics, the opportunity for small designer maker businesses to expand their services and customer experience makes digital techologies a very attractive proposition. But there are barriers to entry and an important one is the standard programmes for 3D designing. The majority of the design work in this presentation so far has been completed using high end, professional level graphics and computer-aided designing (CAD) packages. Designer makers’ doggedness and willingness to persevere to seek out the tools and process for a job, are useful traits for overcoming digital obstacles and do predispose us as highly suitable users, and ‘subverters’, of digital technology. Designers makers like Michael Eden, Geoffrey Mann, Lynne MacLachlan, Gordon, Peter, Jonathan, Johanna and Johannes have achieved a balance between ‘right brain’ and ‘left brain’ thinking and have been able to incorporate CAD’s engineer-focused structure into their practice. Their learning curve is less steep than for many others designer makers who would engage more with 3D printing if only the darn process would leave more time for making. The complex interface that CAD presents is an obstacle to designer makers and is a result of programs being heavy on features and functions, many of which are not needed by most users. Computers and their software do not seem to be designed or developed for easy engagement with digital praxis, imposing an unfamiliar environment that reduces our ability to tap into or apply our tacit knowledge and hands-on skills built up through practical doing. Historically, 2D and 3D design software programs have been developed by engineers for professional designers who use programs on a daily basis, week in week out. Learning to master complex and precision-based CAD programmes such as Solidworks takes 2000 hours to begin to meet the requirements of industry for production. This is difficult to justify for many designer who need to keep working at the bench to maintain their hand skills, and do not need this professional level of computer designing.
- Anarkik 3D Design haptic 3D modelling software enables non-CAD users to access 3D digital technologies and with the creative freedom that it provides is a valuable tool for product designer for the very early stages of concept generation.
- Jewellery by Ann Marie Shillito. The same design was printed in two different materials, direct metal laser sintering bronze on the Concept Laser and blue PLA filament extrusionon the Ultimaker2
- To 3D print you need a digital 3D model.~ model has to be ‘water-tight’ : no inverted triangles ~ no holes, gaps in mesh ~ no very thin walls if hollow If ‘good’ ~ digital model ‘bacon-sliced digital slices (in g-code) sent to printer.Most important is having a good 3D model!
- To get a good digital 3D model: 1. you can download someone else’s 3D model2. you can ‘scan’ an object ….. or yourself3. you can use software programmes to convert data into a 3D form4. you can create it yourself from scratch …
- Selfies from full body scans: Kelly and Faith from the 3DPrintShow! Printer: possibly Zcor colour printer and material starch? Method: binder printed in, colour into the outside surfaces, the whole infused with hardening agent (Asda is now in on the act: go there, get scanned and 3D printed. Now at their Edinburgh store in The Jewel.)
- This piece by Geoffrey Mann was scanned using the reflected laser beams to great effect. The model with its spikes was 3D printed and then cast. CAD is a fundamental tool for him and he has built up sufficient working knowledge of different types of programs, such as cinematic stop-motion techniques, learning only those functions he needs to visualise his ideas and to realise his work. He rarely sketches, going rapidly from exploring the concept in words, idioms and photographs, and rough models in ceramic to working on screen. Rhino as a CAD package provides him with most functions to realize his ideas. He says of it ‘I like Rhino because it lets me make mistakes’. Knowledge and skills are essential for designing and it could be argued that they are more necessary when working with new technologies as these can be very seductive and require a degree of pragmatism. In the virtual environment three-dimensional designs can be visualised with such sophistication that the inherent restrictions of materials, and gravity, can easily be forgotten. (* quote Malcoln McCullough from ‘Digital Crafts…’ pg 26: ‘it is vital to have……’. Designer makers have enough experience of materials and processes to intelligently inform the digital stage of the making process, so reducing the likelihood of wasting time and money designing the unmakable.
- Designer makers are not tied by the constraints that mass production, consumer tastes and price factors inflict on product designers. Lionel Dean, a very experienced industrial and product designer and founder of FutureFactories for the mass individualisation of products, says of digital technologies: ‘They allow new ways of working that divorce aesthetics from particular making traditions. They allow freedom from ‘labelled’ practice, Art, Craft, Design, Jewellery, Metalsmith, etc. etc. …The potential to translate the virtual directly into real world products still seems magical to me. Digital manufacturing is turning the mass production paradigm on its head and opening up more possibilities than we can yet imagine. Designs are no longer constrained by process: terms such as concept and prototype become redundant. Similarly to Lionel Dean, Johanna Spath and Johannes Tsopanides of Shapes in Play, are an example of the designer makers involved in new ways to combine apps and hardware to facilitate ‘personalisation’ by transforming and manipulating data, using algorithms, scanning, fingerprints, vibrations from voice, ‘blowing’, etc. to create dynamic personal forms that can be made tangible by 3D printing. They are programming the form of objects using the ‘Processing’, application, a Java based programming language as a tool that offers a new kind of access to design by transferring abstract information, behaviour or movement into shapes and products that they can then 3D print.
- Justin Marshall is another example as the software platform Automake combines computer-based generative systems so that, with a degree of control from the user, random bracelets are assembled from a range of modular units in an infinite variety of one-off structures. Automake is a collaborative project between him based at the University College Falmouth and the University of Huddersfield.
- Lynne MacLachlan is a trained jeweller and is now building virtually in Grasshopper software as a Rhino plug-in and developing her own coding tool to experiment with graphic structure and form, creating shimmering Moiré interference patterns when 3D printed in nylon. She finishes the pieces by dyeing them, setting them with Swarovski crystals and adding findings.
- And it is on overturning this issue that some designer makers are working because adapting from a strong making preference to digital can feel distinctly disempowering as taking control and ownership of digital technologies can be elusive. What designer makers require are methods for 3D digital designing that tap more into their intuitive and tacit interactions, methods more aligned to innate hand-eye coordination, for example, where our eyes reconnoitre available spatial information for our hands, pinpointing the target before our hands even start to move. Gesture-based interactions use our proprioceptive sense, and haptics in the sense of virtual touch, whether 2D or 3D, fingertips or stylus with force feedback, provide fundamental feedback regarding where we are in 3D space. Unfold have worked towards a more inclusive system for digital form-making to complement their ceramic 3D printer. Collaborating with their vast network they have, together with an interaction designer, developed a system to literally model digital ‘clay’ and ceramic forms by capturing the gestures we would use to shape and manipulate clay on a potter’s wheel. Applications like this apply what we know so that we come with experience and skills that enable us to straddle the analogue and the digital worlds to digitally model what can then be 3D printed.
- Jeweller and silversmith Kathryn Hinton created ‘Digital Hammering’ as a more intuitive physical/digital ‘silversmithing’ tool, focused on merging traditional techniques of hand forging and raising with CAD (Rhino), and 3D printing for casting. She applied her understanding of traditional methods of forming using steel or wooden blocking hammers and a sandbag to develop a unique digital hammer and software interface that captures information about the physical strikes of a sensory ‘haptic’ hammer and feeds this into a 3D computer design programme. Being more direct and immediate, effectively designing with each strike, her system has a new physical layer of interaction between hand and materials, to create a tool to experiment, explore and design different forms by manipulating digital mesh within a CAD Programme.
- Or you can get models by downloading either for free or for a fee, 3D models to get 3D printed. The number of websites now catering to this area of the 3D print market is growing hugely!
- Ann Marie Shillito designed this bangle using CAD in 1997 and this was such a struggle and a frustrating experience trying to learn 3D CAD that she became a research fellow at Edinburgh College of Art to investigate better packages and interfaces for designer makers like herself to work more intuitively and more easily to create more organic forms away from the CAD aesthetic that most CAD packages impose.
- From her practice as a contemporary jeweller she brings unique knowledge and understanding of the creative sector, manufacturing processes and the value of user centred development to firstly the 7 years of research into the potential and commercial application of haptics (virtual 3D touch) as a a better interface for interactions for 3D modelling and now into the spin out Company, Anarkik3D, that has developed a remarkable and affordable touch enabled 3D sketch/modelling software which is developed for designer makers to tap into their tacit knowledge, skills and expertise, gained from hands-on experience working directly with material and processes.
- In comparison with other CAD and 3D modelling software, this is where we have positioned Anarkik 3D Design based on direct feedback we receive. In the development of our haptic 3D modelling software, Anarkik 3D Design (Cloud9 which is bundled with the Falcon haptic device) we adhere to 2 important concepts. The first is ease of learning and use, and being able to be creative from the start. The learning curve is low and short and it is easy to get straight back into using 3D modelling after a lengthy break. The 2nd is enabling ‘Cognitive flow’ by making the process of designing and exploring ideas as immersive as possible by limiting disruption caused by an overly complex interface and non intuitive interaction.
- Anarkik 3D Design enables non-CAD users to access 3D digital technologies and with the creative freedom that allows them to develop their own style as illustrated by the work of Farah Bandookwala and Birgit Laken. Anarkik 3D Design also provides is a valuable tool for product designer for the very early stages of concept generation.
- Nearly finished! These last two projects are a blatant plug for Anarkik 3D Design software to illustrate how easy it is to use, the organic-ness that can be achieved and that it is enjoyable to use. Anarkik3D’s 3D Consequences Pilot Project was about collaboration & stretching the scope of our imagination as an enjoyable, creative experience and worked like this: 4 designers makers were involved with three having their own Anarkik 3D Design package. The 4th designer was given access to the package. We all completed our first digital design (top row) and then swopped digital models. This went through 3 iterations. The educational feature was giving a newbie to 3D digitally model for 3D printing the opportunity and the support to actively and professionally engage with these technologies The initial outcome was 12 digital models in a fit state to be 3D printed
- We received sponsorship from Sculpteo who 3D printed 8 of the 12 models in polyamide. We also have had support from ITEC3D to print some pieces in paper using Mcor’s 3D printer. For the exhibition in London at StudioFusion (April 2014) a further stage was the development of a couple of pieces into wearable works of art.
- The second projects involves 6 jewellery students who were struggling to learn Rhino to design a piece to be 3D printed for an exhibition. With a deadline looming, Anarkik3D’s package was a possible solution if the students could model a piece in one day that they were happy to have 3D printed and displayed in an exhibition with other jewellery students who are already competent users of CAD! I am so proud of these 6 students as they did it! Their selection of models were duly sent to Sculpteo to be 3D printed.
- The 3D prints were then finished off with pins, chains and clasps and exhibited in the Lighthouse in Glasgow in July 2014.
- I have written a book about this too titled ‘Digital Crafts: Industrial Technologies for Applied Artists and Designer Makers’. I am well qualified to write and speak on this subject having a post grad degree from RCA, set up my own jewellery business in 1971, learnt 2D and 3D CAD, researched haptics as a better interface for working in 3D and founded software Company Anarkik3D Ltd in 2007 to make haptic 3D modelling available to others like myself – passionate about 3D printing – but can’t do CAD, in fact don’t need to do CAD! I am an Honorary Research Fellow, Edinburgh College of Art, a Freeman of the Worshipful Company of Goldsmiths and a Fellow of the RSA.
- Be inspired, get 3D printing!