Passionate About 3D Printing but Can't Do CAD
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Ann Marie Shillito is a designer and software entrepreneur who founded Anarkik3D Ltd to create accessible 3D modeling software. She struggled to learn CAD programs as a designer maker but went on to receive funding for the Tacitus Research Project investigating more intuitive digital design tools. This led her to develop Anarkik 3D Design software and spin out her company from the research in 2007. The document then provides examples of how 3D printing has been used across different applications like jewelry, ceramics, fashion and more, with details on the printers and materials used. It emphasizes making digital design more accessible and empowering makers through technology.
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Passionate About 3D Printing but Can't Do CAD
- 1. Just passionate about 3D printing - but canāt do CAD! Yup, thatās me! Is it you too? 1
- 2. I am Ann Marie Shillito. This is why I went from designer maker to software entrepreneur! Briefly my story ā¦. ā¢ designer maker jeweller ā¢ hands-on making in series ā¢ industrial technologies for limited production ā¢ digital designing ā¢ laser cutting, 3D printing ā¢ founder/CEO: Anarkik3D Ltd ā¢ 3D modelling software
- 3. 1990 Research: laser cutting titanium, niobium for jewellery in series ā¢High end engineering software: ā Manage 2D digital designing ā just! ā First hear about 3D printing 3
- 4. 4 1997: learn 3D CAD: ā¢TriSpectives, TruSpace ā¢frustrating, soul destroying experience ā¢1st 3D print in wax for casting ā¢1998: 2nd 3D print : ABS ā¢1999: Research Fellow at Edinburgh College of Art Remit: investigate CAD products for better experience for designer makers
- 5. Struggle to learn Rhino, design coffee table, prototype it 2000: apply AHRC: major funding for Tacitus Research Project ā¦
- 6. 6 āTacitusā Research Project 2000 ā 2004 investigating haptic technology as a more intuitive way of working digitally in 3D for designer makers/applied artists Ann Marie Shillito: Principle Investigator/Research Fellow Edinburgh College of Art. Dr. Mark Wright: Co-Investigator/Research Fellow University of Edinburgh. (EdVEC/Informatics)
- 7. 2007: spin-out company from Tacitus research 2010: Product: Anarkik 3D Design ā¢Accessible haptic 3D modelling software ā¢For designer makers, artists, ā¢Creative persons, all ages ā¢ non-CAD users Creative freedom to stretch the scope of our imagination
- 8. 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 8
- 9. Ceramics: applied art Printer: Delta 3D Material: clay Method: extrusion By Jonathan Keep 9
- 10. Ceramic forms 3D printed by Jonathon Keep http://www.keep-art.co.uk 10 Printer : Delta 3D Material: clay Method: extrusion
- 11. Unfold: Rapman 3D printer for extruding clay 11 Printer: Rapman Material: clay Method: extrusion Project developed by Unfold
- 12. 12 Printer: Rapman Material: precious metal clay (silver) Method: extrusion Project developed by Esteban Schunemann
- 13. 13 Printer: Rapman (solar powered) Material: desert sand Method: sintering using focused sun rays Project developed by Marcus Kayser
- 14. Printer: Delta, Method: extrusion. Project by Designer Thorsten Franck: 7 Days 7 Stools collection: thin walled vessels stabilized by āfoldingsā to make structurally sound. 2014
- 15. Consumer 3D printer Material: ABS or PLA Method: filament extruded Jewellery by HotPopFactory 15
- 16. To 3D print successfully, you need a good digital 3D model: 1. you can download someone elseās 3D model 2. you can āscanā an object ā¦.. or yourself 3. you can use software programmes to convert data into a 3D form 4. you can create it yourself from scratch ā¦ 16
- 17. Collaborate with others: open source element dress by Dutch fashion designer Anouk Wipprecht ā¢Open invitation to all to download, edit base file of particle through the TinkerCAD base template ā¢Aim: collect about 150 parts created around the world, linked together into a item for Fashion Show
- 18. 18 CAD: great tool - amazing what designer produce with it. Same with processing programmes, i.e. Grasshopper and mathematical algorithms . 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!
- 19. Acquiring a 3D digital model by capturing sound, and using processing (coding) to transform data into printable forms By SHAPES iN PLAY Material: polyamide
- 20. 20 Acquiring a 3D digital model: using algorithms to cluster units into unique printable forms By Justin Marshall Material: polyamide
- 21. Creating a 3D digital model using coding (Grasshopper) to create precision patterns with moire effect when units printed By Lynn MacLachlan Material: polyamide Finished by dyeing 21
- 22. 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. 22 Dress design: XYZ Workshop
- 23. 23 Diego Zamora: PhD Project: 3D printing directly onto fabric
- 24. 24 Noa Raviv: 3D printed fashion
- 25. 25 Application: Inner Leaf shoe 3D printed Shoe Collection. Printer: ?, Materials: Polyamide? By Janina Alleyne,
- 26. Aphrodite shoes. Makerbot Replicator 2 and any home printer, ABS, PLA, bronze, Laywood filament, straps in Ninjaflex (printed in 2 parts) By Michele Badia Below: simple, DIY Shoes Cube 3D printer, or any home printer. ABS or PLA (printed in three parts, and fitted together. ) By United Nude founder, Rem D Koolhaas
- 27. Francis Bitonti: 3D printed shoes
- 28. 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 28
- 29. Symbiotic Love Collection: 3D printed in polyamide. Finishing: dyed, set with silver and pearls By Elizabeth Armour (3DPrintShow Global Awards 2014 Finalist: Rising Star) 29
- 30. 30 Project: Combining advantages of traditional Mokumegane and lost wax casting and cutting-edge technology (Rhino, 3D printing) Applied art: jewellery 3D printed: photosensitive resin or wax, then cast. By Jae-won Yoon
- 31. TinkerCAD Sketchup Design it yourself. With CAD Anarkik 3D Design Grasshopper Illustration adapted from Sketchup Presentation for i.materialise conference. Can be seen here http://vimeo.com/11322333 31
- 33. Blender
- 34. CAD & coding barriers to DIY for non-CAD user : āboringā & āhardā Companies, groups & individuals developing other software types & methods for creating 3D digital forms! 34 TinkerCAD 123D Design
- 35. 35 By Unfold Using a gestural system for digital form-making for 3D printing.
- 36. By Kathryn Hinton 36 Using haptic hammering system for digital form-making.
- 37. Exploiting haptics for more intuitive digital form-making: Anarkik3D 37
- 38. 38 Anarkik 3D Design ā¢ move & rotate objects & world in 3D ā¢ manipulate, deform: feel and see interactions ā¢ scale, construct, subtract: serendipity as default ā¢ Export file formats: direct to 3D printing ā¢ To some CAD (e.g. Rhino)
- 39. Jewellery and sculptural objects Designed using Anarkik 3D Design and Rhino by Farah Bandookwala. 39
- 40. 40 3D printed rings Designed using Anarkik 3D Design package by Birgit Laken
- 41. 3D Consequences Pilot Project ā¢ Collaboration: 4 designers makers: swop digital models: 3 iterations ā¢Educational: newbie supported to learn 3D digital modelling for 3D printing
- 42. 3D Consequences Pilot Project ā¢12 digital models for 3D printing ā¢8 3D printed models: sponsorship from Sculpteo
- 43. 6 jewellery students, struggling to use (Rhino). Digital results: 1 day workshop (Anarkik 3D Design)
- 44. 6 pieces of 3D printed jewellery, resulting from 1 day workshop (Anarkik 3D Design) 44
- 45. Top: digital image (CAD), ABS with acrylic paint, digital image(Anarkik 3D Design)/ titanium (hand wrought gold), ācast silver ā (render), Middle: paper, resin, polyamide (titanium ring), polyamide. Bottom: bronze, PLA, bronze, ceramic, bronze.
- 46. 46
- 47. To quote Peter Dormer: āIt is not craft as āhandicraftā that defines contemporary craftsmanship: it is craft as knowledge that empowers a maker to take charge of technology.ā Thank you. Ann Marie Shillito CEO of Anarkik3D Ltd Author: āDigital Crafts: Industrial Technologies for Applied Artists and Designer Makersā. Freeman of the Worshipful Company of Goldsmiths (by redemption) Fellow of the RSA (2014) info@anarkik3d.co.uk http://anarkik3d.co.uk anarkik3d.wordpress.com @anarkik3d @anarkymarie Anarkik 3D Design 47
Editor's Notes
- To 3D print you need a 3D digital model, not just any model but a watertight solid model in a specific file format. What if you canāt or donāt want to use CAD?
- This presentation highlights the barriers that CAD imposes for many designer makers, applied artists and 3D artists wanting to 3D printing with their own designs. And it is the story behind one solution from the company I founded, from being a contemporary designer maker and jeweller, making by hand, to being CEO of Anarkik3D, a software development company whose own brand product is a haptic 3D modelling programme It was the frustrations of trying to find a CAD package I could design in. It seemed that explorations of form were still best sketched on paper or modelled in material, and then the known dimensions of the nearly complete design input via the keyboard. As a designer I was having to adapt to an imposed and regimented way of working, the way that product designers and engineers have to work as they are designing for the precision of industrial production. It was my attempt to find the better CAD package to produce the right type of model for 3D printing that drove me to become a research fellow and then on to my current status as a software entrepreneur. This is the story and I conclude with some projects and work by other designers to show how they have been able to actively participate and experience the whole process from designing and modelling in 3D through to 3D printing their objects. Itās about being passionate about the power of making.
- Research: laser cutting titanium, niobium for jewellery in 1990 Get into 2D digital designing 1990
- See 3D printed stereo lithography ring in 1990 Get into 3D digital designing 1997 Frustrating experiences trying to learn 3D CAD
- John Hirschtick, co-founder of SolidWorks and Group Executive, made four predictions way back in 2009, one of which was that touch and āmotion user interfacesā using hand movement and gestures to manipulate, model and view forms and data would lead to more natural ways of working with important implications for using CAD. We already have many widgets that can be used and applied: think tracker balls, āspacemouseā, tablets and stylus, voice control, haptics as digital touch, interactive screens, hand-held āwandsā, tiny wireless flecks that can be embedded in fabrics, under the skin, etc, and sensors capturing hand and body gesturing, tracking eye movement, tapping into brainwaves using electrodes, the list goes on. And the key driver is usability such that the whole interactive experience becomes more immersive as disrupting cognitive challenges are eliminated. We then have less adapting to do. We can concentrate on learning and doing. As a designer maker I initiated a research project at Edinburgh College of Art which investigated haptic technology as a more intuitive way of working digitally in 3D for designer makers and applied artists. We focused on the high ends needs of this group, identifying touch (as force feedback), stereovision, 6 DoF and co location as necessary features for a very acceptable immersive experience that fosters cognitive flow. But there was no way that designer makers as micro businesses could afford this ideal but expensive set-up.
- With our product I can finally design and model in 3D the way I want to work. I can develop my own style. I can finally access 3D printing technologies with designs and forms I want to print out. I am a passionate about enabling more people to design and make using 3D printing and champion the work of other designer makers as much as I can.
- Samir Shahās 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.Ā 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.Ā http://www.3dprinterworld.com/article/4-axyz-making-customized-furniture-with-3d-printing-technology
- 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.
- These are then 3D printed on the Delta 3D printer that he has built and adapted to print in clay, and finally 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 ālike 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.Ā After firing rings can be hammered to size them, demonstrating that the metal clay was fully sintered as piece did not fracture. Work was polished and a patina applied to add contrast between the layers. This should be of great interest to jewellers as this is a more direct way of producing work in silver than the lost wax process. 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 sunās rays through a āFresnel lensā to melt the sand, and solidifies as glass to create his granular glass bowls. For me, these are beautifully poetic, technology aligned āwhere energy and material occur in abundanceā.
- Small businesses are beginning to desktop manufacture 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 āwhat ifā exploration. An underlying element of creativity and innovation is the chance of spotting something different and the opportunity to say āstop thereā or āwhat ifā, 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.
- 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: āThey allow new ways of working that divorce aesthetics from particular making traditions. They allow freedom from ālabelledā practice, Art, Craft, Design, Jewellery, Metalsmith, etc. etc. ā¦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 āpersonalisationā by transforming and manipulating data, using algorithms, scanning, fingerprints, vibrations from voice, āblowingā, etc. to create dynamic personal forms that can be made tangible by 3D printing. They are programming the form of objects using the āProcessingā, 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 MoirƩ interference patterns when 3D printed in nylon. She finishes the pieces by dyeing them, setting them with Swarovski crystals and adding findings.
- 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 entrƩe to these technologies and available materials span from paper and plastics to titanium and gold.
- In comparison with other CAD and 3D modelling software, this is where we have positioned Anarkik 3D Design based on direct feedback we receive.
- Some designer makers are working on overturning this barrier issue that CAD imposes 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 āclayā and ceramic forms by capturing the gestures we would use to shape and manipulate clay on a potterās 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 āDigital Hammeringā as a more intuitive physical/digital āsilversmithingā 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 āhapticā 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.
- Anarkik3D uses a 3D haptic device to add the very real sensation of touching a virtual object fully in three dimensions. The grasp of the device also works in 3 dimensions which means less adaption to working in a digital 3D environment as both movement in 3D and touch tap into the way we naturally interact in and engage with the real world. This make 3D modelling using Anarkik 3D Design package easier and faster to learn and to be creative from the word āgoā.
- Functions are selected for their value as 3D modelling tools, and become straightforward to use by integrating haptics and 3 degrees of movement. By using the .stl file format used for 3D printing, models can also be exported into CAD. We have selected Rhino to test for compatibility as it is also an affordable package with an excellent range of features to complement those of Anarkik 3D Design.
- 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.
- Anarkik 3D Design 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.
- Before I finish I would like to show two Anarkik3D projects. The first is our 3D Consequences Pilot Project which 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 Mcorās 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, Anarkik3Dās 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! And they did it! The selection of models were duly sent to Sculpteo to be 3D printed.
- The 3D prints were finished off with pins, chains and clasps and exhibited in the Lighthouse in Glasgow in July 2014.
- 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.
- And I have written a book about this too titled āDigital Crafts: Industrial Technologies for Applied Artists and Designer Makersā. 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 ā passionate about 3D printing ā but canāt do CAD, in fact donāt 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.
- Thank you and be inspired because you do have the means to participate in these exciting technologies.