It's Good to Like what you Like and to Do what you Do...

This recent post by Brock Hinzmann on the rp-ml list really struck a cord with me:

"I've always found it interesting that artists often call their works 'experiments' (as in 'Experiment in White on White No. 9'), while scientists often discuss their experiments in terms of the 'state of the art.' Some artists are very purposeful and tell me it's art if the person that makes it says it is and anyone who calls themselves an artist is one. And some artists probably don't even think of themselves as artists so much as a person following a muse in their head to bring forth a mind-body experience of one sort or another. The art can grate on the senses, it can lack craft or skill and it can be highly offensive to some beholders, but it is done for a reason that is art. Making an exact duplicate probably is not. The great thing about RP is the ability to experiment. I try not to be too judgmental these days about artists or art critics. However, I prefer critics (of paintings, of sculpture, of movies, of music concerts) who can clearly state their own biases and assumptions, which I can compare against my own biases and assumptions about art. I like what I like."


It resonated for a couple of reasons, first, because I agree with it. I no longer like to be told what is good or what is bad — art is a good example — I would rather decide for myself, but understanding other people's perspective is, IMO, a good thing. It doesn't have to be the same as mine though. 


Second, it took me back to another conversation I had not that long ago about the additive manufacturing (AM) industry. The slow growth reality, compared with the hyped predictions of 15 years ago was a central theme and what could be done to push the technology harder, wider and faster. Typical stuff really. But one of the comments that has stuck with me is that — "it won't happen like that, people do what they do" [with additive technology]. In other words, the general population of existing AM technology users — whether the application is prototyping with 3D printers or manufacturing or something inbetween — have grasped the technology and only use it to fulfil their application — nothing more.

I kind of got a sinking feeling as this hit home. I don't agree with it in full because it does not take into account the individuals that I have met who passionately believe in this technology and spread the word at every opportunity. Also, things are still moving forward, and I believe they will continue to do so. The article on 3D printing in the New York Times (one of the US' largest circulation daily newspapers) yesterday proves this point nicely. Growth is slow and the minority of AM evangelists is still small and while I have been struck by the truth of the statement that — often of necessity — 'people do what they do', it is not such a bad thing. I actually like doing what I do — I hope you do too.

Chameleon Case Study

I wrote this recently, and it's a great design story with 3D printing built in. Plus I really do love this jewellery. 

Talented Designer Produces Unique Jewellery Range with a Touch of Advanced Technology

The Chameleon 3D Design Package from A1 Technologies was central to the development of Farah Bandookwala’s intriguing range of Jewellery, which was exhibited recently in Edinburgh and London. 

‘Original’ is a word that is often used loosely, but it is wholly appropriate when describing the jewellery created by Farah Bandookwala. Moreover, this originality is built in to Farah’s jewellery — not only is it original in its aesthetic appeal but also in the way that it is designed and made. This talented Masters graduate has just completed two exhibitions in Edinburgh and London with her jewellery ranges that are as unusual as they are eye-catching. The exhibitions were the culmination of Farah’s Masters of Fine Arts (Jewellery) at Edinburgh College of Art following a Bachelor of Design Degree.

The jewellery ranges that Farah has created — “Grow Your Own Bubbles” and “Parasite” — include captivating pieces in their own right. What might not be so immediately obvious is the fascinating journey that the designer has travelled, to date, in the design and development of the pieces. Each piece of jewellery that Farah has created comes from a dual exploration that is central to her work. In her own words, Farah explained: “My work explores the possibility that identity is a fluid entity and aims to allow the user to convey this changing sense of self over time. Alongside this I am also looking at the impact of new technology on human relationships with material culture.”

Introduced to 3D digital technologies during the course of her studies, Farah was designing using 3D CAD fairly early on. However, a placement in 2009 at Anarkik3D — the software developer of Cloud 9  — ensured Farah encountered a different way of designing and creating in 3D: haptic modelling, which enables users to touch and manipulate their virtual 3D models and to connect with them in a tangible way.

During that placement Farah worked with Cloud9 and the Falcon haptic device to understand and experiment with haptic modelling, — the same complete haptic 3D modelling package that A1 Technologies now supplies as Chameleon.  Consequently, Farah now credits that period at Anarkik3D as the origins of her developing her identity as a designer and since that time she has continued to investigate the use of haptics for creative design, with extraordinary results.

Fascinated by the physical interactions with her designs, Farah was able to use Chameleon to subvert the technological process — which is fundamentally mathematical — to create forms that look entirely organic. Farah’s own take on this is that she has created a “purposeful paradox.”

Chameleon’s haptic qualities allow creative people to physically interact with the virtual material. It is both tactile and intuitive. The direct appeal for Farah with using this medium to design her jewellery is the ability to see — and feel — the input in the outcome. Quite simply, her jewellery designs could not have been created any other way.

Using Chameleon alongside a traditional 3D CAD package, Rhino, Farah found that the differences between the two software packages were extreme. Most notable was that while the 3D CAD offered control and precision with surfaces, it just could not compare with the ability to freely sculpture the shapes by directly deforming and manipulating surfaces to create the desired morphing. Indeed it is the freedom of the software that is one of the greatest attractions for truly creative design, with no constraints. The bangle illustrated below is a good example of this.

The fundamental physical interaction of the design stage led Farah to explore the best way to physically create a true representation of her jewellery designs. This journey brought her to 3D printing (3DP), a method of manufacturing that has developed significantly over the last decade from its origins in rapid prototyping (RP) to a validated method of production of parts in plastics, composites and metals. 3DP enables the production of complex shapes and parts directly from the virtual computer design — eliminating the need for machine tools and/or tooling or wax models. For creative applications, the design freedom that this offers over traditional methods of manufacture is remarkable; however, using 3DP in conjunction with Chameleon, the result is truly liberating.

In 2009 Farah secured sponsorship from Shapeways and Laser Lines to prove her designs using 3DP. Her jewellery was produced on different 3DP machines using a range of materials including nylon and stainless steel. 

 The Parasite series is a range of jewellery that is intended to become part of the body. Beautiful pieces there is also something distinctly uncomfortable about them — a trait that has been achieved by growing them — using 3D printing — on a machine.

The “Grow Your Own Bubbles” range was conceived to be an adornment that can be re-assembled in various ways as the wearer’s sense of self evolves.

Looking ahead to the future Farah will be considering the potential of clients wishing to wear her jewellery being presented with the opportunity to download and 3D print their own units as they desire them. This is still a speculative aim, but as 3D technologies penetrate more deeply into the consciousness of the general public, it is not beyond the realm of possibility, particularly as A1 Technologies is pushing the boundaries of 3D capabilities, incorporating the Chameleon haptic design product, 3D laser scanning and 3D printing, with a 3D studio package starting at under £2,000.

Biography of Farah Bandookwala

Born in Bombay, India in 1987, Farah moved to New Zealand at the age of 15. Both of these vivid cultures have strongly influenced her work and encouraged her interest in the vastly different approaches to design as a medium for expressing identity across these societies. Farah completed a Bachelor of Design Degree at the School of Art and Design at Christchurch Polytechnic Institute in 2007. Farah has just completed her Masters of Fine Arts (Jewellery) at Edinburgh College of Art. 

An Uninspiring Consensus on the Future of 3D Printing from the Trade Press

A fair proportion of my time is spent reading — whether in print or online — as there is a great deal of information and endless opinions about additive manufacturing (AM) and 3D printing (3DP) available these days. I like to keep up, partly because it is good for my business, but also because I like it! I do sometimes miss the more classical material that I used to lose myself in, prior to two children and running my own business, but sleep deprivation is something I don't cope well with. 

Anyway, the reason for this post? A noticeable consensus between the two Editors of the only two trade magazines that focus heavily on AM and 3DP in the UK. And strangely enough, both aired similar opinions when discussing the arrival of the two new ZCorp 3D printers (see previous post). 

In a blog post dated 27th July, entitled 'The Rise and Rise of 3D Printing,' James Woodcock, Editor of the TCT Magazine stated: 

"Some see the ultimate goal for 3D Printers to be on every desk next to your home computer. I don't see it happening myself, but I realise that could be a 'one computer in every town in America' type of statememt." 

And then, today I was flicking through the latest print edition of Develop3D and came across this commentary from Al Dean, Editor: 

"The mass adoption of 3D printing has been talked about for some time, but I'm not entirely convinced that everyone is going to have a 3D printer in their home for a good long while .... if at all." 

The similarity in their opinions is striking, but notice that they both include a get-out clause!! 

Having been there myself, it is a tricky course to negotiate. One can't be too negative, there are clients to consider after all, and they sell these machines and pay your bills!! On the flip side, if you go out too positive then you risk credibility. 

For my tuppence worth, I am still where I was about 6 months ago, I think that the volumes of machines sold, starting at the entry level sub-£5k machines, will continue to increase. System and material performance will be incrementally improved, as will usability. This will open up the rest of the market and when one or more of the system vendors taps into a universal application and is in a position to scale up their own production, then at that point the universe will be the limit!

For positivity and a genuine interest in making this happen — my vote goes to Shapeways. This is a company that is doing AND saying, albeit online only. I wonder what would happen if they went into 2D print???? 

3 New 3DPs

So a few days away from it all, with the smart bit of my phone switched off, and I come back to three new additive manufacturing (AM) machines and an inbox groaning under the strain of undeleted messages!


/Aside/ The aim of the time away was quality time with the children before they took off for independent adventures at summer camp. Having a bolt hole in a beautiful location on the coast of the island of Anglesey, North Wales, courtesy of my parents' love of the place half a century ago, and hard work to acquire a place there, is something for which I am eternally grateful. The third generation of our family is now completely besotted with the place. A safe haven that allows for freedom and adventure. The quality time did not quite pan out as I had envisaged, however it was 100% quality nonetheless.  It turned out that all my two needed for "the best week ever" was the freedom to roam with their new BFF's, material for building dens, regular fuel stops, the odd plaster and an occasional snuggle (the power of which should never be underestimated). The only discord originated from the disparity in what was deemed to be an acceptable time to end the day and get ready for bed. We came back on top of the world.


So, the new AM machines — a new entry level 3D printer and two more from ZCorp (100% ZCorp) in the mid-range market.


The two new machines from ZCorp are the lowest priced offerings from the company. A fact that, coming quite closely after the uPrint, sees many of the predictions from the last decade — of how the competitive landscape will shape the industry and what it can offer in terms of improved performance — coming to fruition. The two machines in question are the ZPrinter 150 (monochrome, priced at £10,900) and the ZPrinter 250 (multicolour, priced somewhat higher, at £17,900). With this announcement, ZCorp is highlighting lower prices and higher specs, claiming that they 'print 5–10 times faster than other 3D printing technologies, with the unique ability to print multiple, stacked models simultaneously.' Obviously, the other big selling point — for the ZPrinter 250 — is its capability of simultaneously printing in multiple colours. What did make me smile was the swipe that ZCorp took at the entry level machines. Check this out: "Unlike low-end 3D printers, the new ZPrinter 150 and ZPrinter 250 are: easy to use out of the box; build 3D models with five times the resolution; and have the industry’s lowest operating cost (lowest cost per model)."


At this point, I would dispute the last claim in that list, but will try and get some actual facts and figures together before I wax lyrical, the stacking capability may just swing it in ZCorp's favour. 


And despite ZCorp's prickles at the increasing volumes of 'low' end systems, this competition is all good. Besides, there is another 'low' end contender coming into play, priced under £1,000 (sort of). 


The UP! system comes from a company that seems to be overly fond of alliteration and wants to remain shrouded in terms of its origins. UP! is a Personal, Portable 3D Printer and is being marketed as a 'micro-factory for Anyone, Anywhere, Anytime.' Okay, cynicism aside, the machine itself looks quite interesting (and different), plenty of pictures and standard spec info at the pp3dp site: http://www.pp3dp.com/. However, little to go on in terms of who, why and what is behind this development. And the $1500 price tag, it should be noted, is only for the first 100 system sales, after that, the RRP is $2990. 

Piecing the ZCorp Puzzle

So back in May, ZCorp introduced a 3D printer — the Zbuilder Ultra. Actually, they called it a 'rapid prototyping machine'! I usually jump all over press releases such as that, but in this case I held back. Even on the first read a couple of things struck me as odd — the release talked about the DLP technology employed by the machine, a complete deviation from its traditional technology base for its ZPrinting range of 3D printers, but there was not one single mention of "new", "revolutionary" or even "improved" technology. Now that is beyond odd for an announcement like this. The second thing that occurred to me was how similar the image of the machine was to the Envisiontec 3D printers. It seems I was not the only one to notice that!

Reading the press release more closely, it was extremely carefully worded throughout and prompted me to do a little digging and wait and see what emerged. Sure enough, an anonymous tip declared that ZCorp and Envisiontec have come to an agreement and Envisiontec is the manufacturer.

I have no idea why all the cloak and dagger theatrics are deemed necessary. It is not a huge surprise that machine manufacturers are looking to join forces at some level following the Stratasys / HP announcement. Moreover, these two are a good match. Envisiontec's technology is extremely competitive on accuracy and speed and has made significant in roads into the jewellery sector as a result. ZCorp offers full colour options and has a good market profile. By initiating a collaborative agreement, both companies are strengthening their position ahead of a shifting market dynamic.

Personally I think that their positions would be even stronger if they were just upfront about the whole thing!

Clever, Canny or Just Cynical and Gimmicky?

So 3D Systems and some of its distributors are offering trade-in deals for a ProJet 3D printer.

The logic of replicating a very successful business model is undeniable, whereby users of 3D printers can 'trade-up' to a ProJet. Beyond the logic of the idea and the gimmicky rhetoric, which goes something like this:

For a limited time only, we will credit you up to US$15,000 toward the purchase of any new ProJet 3000, or a new ProJet 5000 3D Production System when you trade-in your existing 3D printer.

... the reality is that the customer will be surrendering their exisiting 3D printer for up to $15,000 off a new ProJet, that costs in the region of $60,000.

Furthermore, 3D Systems also lists the equipment brands that can be traded in:

• Stratasys
• Dimension
• Objet
• Z-Corp
• Envisiontec
• 3D Systems' InVision series 3-D modelers. 

Obvious choices perhaps, but it begs the question, if this offer works, and even one person takes it up, what will 3D Systems do with the old machine(s)??? 

Any suggestions?

Sciaky Goes Above Radar

With its presence at the upcoming International Conference on AM at Loughborough in July, Sciaky is taking it's EBFFF technology into the mainstream consciousness of the Additive world. EBFFF — or Electron Beam Freeform Fabrication, which the company shortens to EBF3 — could make a big impact because it seems the thing that makes it different is that it is a big technology. 

I cannot find any specific information on part dimensions at this point, maybe that will be part of the unveiling at Loughborough, but deposition rates are quoted as ranging from 15 to 40 pounds of metal per hour — depending on the material and application (of course, this is standard patter). This deposition rate of metal, if accurate, is a significant increase from what has been available to date and could be the key to success here. Add to this the material choices — titanium, nickel, stainless steel and refractory alloys — and the application base becomes even more interesting. 

Sciaky’s historical pedigree is founded in electron beam welding, a technology that is used in industries such as aerospace, defence and manufacturing so the company has all the right contacts for introducing the first large scale Additive Manufacturing process.

The other angle that caught my attention is the PC-based control system, which according to Sciaky, takes advantage of the company’s extensive experience using integrated CNC motion and process controls.

Sciaky is a subsidiary of Phillips Service Industries (PSI) so backing and further development should not be an issue.

I suspect this is one to watch.