Something A Bit Different within the 3D Printing/Additive Manufacturing World

At this time of year (post Euromold) there is generally a great deal of buzz and internet chatter about the new additive manufacturing / 3D printing developments that were announced at the German design and manufacturing show. Many vendors favour Euromold as the launch pad for their newest machines and/or materials for understandable reasons.

However this year, despite a couple of "new" [for new read 'different sized'] machines (3D Systems, Objet) and improvements to materials, is a year of incremental improvements and the buzz just doesn't seem to have manifested itself. The loudest gasps seem to have emerged from the announcement that MTT is splitting its activities — with the German and the UK operations going their separate ways. Interesting, but really just company politics. It will take some time to see where that is going and the intent behind it.

Similarly, Bits from Bytes seems to have hit the wrong note by producing a pink version of its RapMan kit and branding it the 'RapChick'. Gimmicky tokenism is NOT what this industry needs. I did start to write my ranting response down, slept on it, and thought better of it. Deleted the lot. I'll just go with this much more reserved paragraph here, and also reference a much more mature and productive response from Ann Marie Shillito of Anarkik 3D: http://annmarieshillito.wordpress.com/2010/12/06/virtual-3d-world-is-very-bright-and-tangible-but-not-pink/

Anyway, to the point of this blog post — something that came to my attention this morning and made me really sit up and take note. It came via REPLICATOR [replicatorinc.com], a blog post that today was awash with information. But pick through it carefully and you find a fascinating nugget detailing "Giant 3D Printed Chairs." I've seen chairs before — but not quite like this. The original article is from Suzanne Labarre at Co.Design [http://www.fastcodesign.com/1662793/giant-robot-prints-chairs-from-ground-up-refrigerators-video].

The whole project is the work of a Dutch design student, Dirk Vander Kooij (nice name and I really like his hair!!). He has obviously worked this design concept up in a 3D CAD package, but then this remarkable young man has used his knowledge with some ingenuity to breakdown some old fridges into usable material that can be deposited layer by layer (sound familiar??) via a rusty old robot arm. And it really is rusty, as you can see in the video. The robot can be programmed to produce the chairs in a variety of sizes, shapes and colours, all at low resolution, at approximately two hours per chair. If, like me, you are starting to do the sums in your head, there is some serious potential here. Now there is no indication of how long it takes to break down the fridges or how long it took to refurb the robot and so on, which would all need factored in. However, the latest news update is that Dirk is offering these chairs for sale at 800 Euros each. And as Suzanne points out, if the machine was running round the clock, it could produce 4000 chairs a year — that is a potential turnover of 3.2 million Euros. Anyone else just spluttered into their coffee?? My guess is the chairs possibly won't sell like hot cakes in the current climate at that price, but this is a true example of an additive manufacturing application coming from left of centre and I truly hope it becomes a big success story for Mr Vander Kooij.

The video demonstrating the process in action is entitled "Endless" which I am taking to refer to the possibilities here. I am now wondering what could be achieved with a bigger budget and state-of-the-art robots in a clean room facility.

TCT Live 2010 — A worthwhile trip.

The fog is starting to clear following a successful TCT event at the Ricoh Arena earlier this week. This is a show that I have been involved with in one way or another for the last 15 years, and the 2010 edition was, it has to be said, a triumph — in terms of organisation and results.

TCT has continued to grow in terms of its physical size and visitor numbers year on year, and 2010 was no exception. The industry's worst kept secret was also launched on the second day of the show, with the announcement that in 2011, TCT will move to the NEC in Birmingham to run alongside MM Live once again, as well as Interplas — Rapid News Communications' latest acquisition.

Although no longer directly employed by RNC, this year I was commissioned to draw together the conference programme on Additive Manufacturing and it was a good line up (even if I do say so myself). The subsequent feedback has been very encouraging from delegates at the conference during the two days as well as notes dropping in my in box since. (Almost worth the sleepless nights!!)

Walking the halls was also very positive, virtually everyone I met and spoke with was infinitely more up beat than this time last year, although it should be said that quite a few of them were tracking the CSR as it was delivered on Wednesday afternoon on their hand-held devices. Nobody can quite define how the impact will roll out into industry, but business seemed brisk on the show floor.

The other thing that struck me was that TCT continues to gain prominence for the additive technology vendors — for AM and 3D printing. The majority of vendors have always had a presence at TCT but now the CEO's are showing their faces and not just sending minions!

All in all a valuable three days away from the office.

3D Systems Buys Bits from Bytes — A Significant Manoeuvre for 3D Printing?

On Tuesday the news broke that 3D Systems had acquired Bits from Bytes (BfB). This strategic move is not surprising in itself, and is precisely the sort of acquisition that 3D Systems is renowned for — and seemingly very good at. I'm thinking back to the middle of last year when 3D Systems acquired Desktop Factory.

So the company has bought up two low-end 3D printing manufacturers and all of their IP in just over 12 months.

I suspect the dust is settling all round — the news has been spread far and wide across all the usual distribution channels, but there has been surprisingly little commentary on this. It's taken me a few days to formulate my own thoughts into some sort of order on this news, and it's definitely not clear cut yet, but here goes ....

Despite the surface similarities of the two acquisitions there are also some huge differences. The Desktop Factory machine, despite clever marketing had never actually reached the market, it was more about acquiring R&D and a very good marketing professional (Cathy Lewis, formerly CEO at Desktop Factory, is now the marketing spokesperson for 3D Systems). Bits from Bytes on the other hand has been shipping 3D printers — the Rapman kit and latterly the plug & play BfB 3000 — through various global channels to some acclaim for two years, with an ever increasing order book.

My first ruminations were on the motivation for these acquisitions. Call me cynical, but I could not help but wonder at first if the company motive was to buy the low-end 3D printer vendors to suppress sales, and protect market share within the whole additive manufacturing (AM) industry. 3D Systems does have a reputation for being aggressive and pretty closed off to journalists and customers alike. But although hard to interact with, it is hard to deny the success the company has achieved with additive technologies. I have come around to thinking that there were probably different motivations for each acquisition rather than one holistic subversive conspiracy!

Desktop Factory was hitting the headlines at a similar time to the 3D Systems V-Flash 3D printer — both hailed as the answer to the industry's needs in terms getting a foot on the AM ladder. Indeed the prospects of both were great but neither ever seemed to fulfill the promised potential. For Desktop Factory lack of financial backing and some technical / production issues prevented the company from actually reaching the market. The technical problems may yet be resolved, but the Desktop Factory concept has still not materialised into a working machine for sale. For the V-flash — well no one ever did get to the bottom of why the launch date kept getting postponed. However, the machine did finally filter through, but lost some credibility as a result; plus the market dynamic had shifted significantly too with the arrival of working 3D printers under £5000, namely the Makerbot, RepRap and RapMan. Since then there have been more changes with the arrival of the UP! 3D printer and the BfB 3000.

So why has 3D Systems bought Bits from Bytes (BfB)? Well, as stated, 3D Systems is very protective of its position in the AM industry. It is one of a very small minority of AM vendors that occupies space selling across the whole spectrum of machines — low to high end. Stratasys is the other, but does not have a product offering under $10,000. I suspect that the V-Flash has not met expectations — internally or at large — and therefore the BfB product line was an attractive proposition in that it was a ready-made, working solution. It has been bought as a going concern, and the 3D Systems announcement asserts that the Bristol, UK-based BfB facility will be undertaking business as usual. The 3D Systems website has the BfB machines on its product selector feature already too — and they are the only machines offered under $5000. Not something the company could offer last Monday!! I can't see the BfB brand disappearing as too much is invested in it, but based on historical performance I don't think it will remain without some sort of 3D Systems trademark for very long either.

This is beyond a doubt a significant development in the 3D printing arena. How far it will penetrate remains to be seen, but with the competition heating up things are getting very interesting again.

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.