Fabricated – 3d Printed Consumer Goods – Green or Not?
February 28, 2014
I submitted a post to another class (Green IT) and decided to use this part of the Fabricated book. I thought it was worthwhile to include here since the assignment for the Fabricated book only allowed for 250 words.
I have been reading a book titled “Fabricated: The New World of 3D Printing”. The book provides a top level overview of the history, technology, and potential directions for 3d printing. For starters, 3d printing is a blanket term for several different processes that exist to produce 3 dimensional physical objects from computer design files. The two most common processes are additive manufacturing and laser sintering. In additive manufacturing, an extruder heats up and excretes melted plastic. The extruder itself is mounted on a device that moves in 2 dimensions (x and y axis. The platform where the material is being secreted moves downward. Essentially the material is layered until the item is complete. In laser sintering, a high-power laser beam is directed toward the surface of a bed a of powder. The powder melts and the process continues for the next layer. The traditional (non additive manufacturing process) is injection molding. In injection molding, one first has to create a metal mold of the object you would like to produce. Creating the mold itself requires a high degree of expertise and it is a multi step process. Once the mold is complete, it is assembled into an injection molding machine. In this process, polycarbonate pellets are melted into the mold. The melted plastic takes the shape of the mold and it is completed in seconds. The benefit of this process is that the mold can create thousands upon thousands of replicas within a very short amount of time. This has been the long standing method for large scale manufacturing.
The book makes speculation that the traditional injection molding process will made be obsolete by localized 3d printers. The question now becomes, due to the reduction of scale and the dirty tradition of factories, is 3d printing a green alternative?
The book’s first response is no and makes three arguments against 3d printing as a green technology to replace injection molding. First, per unit of mass of manufactured product, a 3D printer consumes more than 10 times as much electricity as an injection molding machine. Second, an injection molding machine creates very little waste product as the input materials directly take the form of the final product. Last, 3d printing these goods instead of large scale manufacturing means that instead of several big shipments of the final products in the distribution process is more energy efficient than a distribution network built on large numbers of small shipments to different locations. As the book puts it, “if 3d printed manufacturing were merely scaled up to global proportions, there would be nothing green about it”.
The next chapter makes a complete 180 degree turn in speculation and with good reason. The book then goes on to make a case for 3d printing as a viable green alternative to traditional manufacturing methods. The trick is not to simply make 3d printing adapt to the current paradigm of large scale manufacturing. Instead, the book proposes that manufacturers leverage the capabilities of 3d printing to create a new manufacturing paradigm. Technologists like to call this “technological disruption”. The first argument is that 3d printing allows for the fabrication of products who shape is ultimately optimized for its application or environment. Second, storing digital design and print files is more ecofriendly and less costly than storing and maintaining environmentally costly warehouses full of inventory, staff, packing materials and molds. Next, 3d printing technology does not require large scale manufacturing facilities. Therefore, localized manufacturing is feasible. Products can be made on a per need basis with quick easy local access to the customer (think Kinko’s/Staples but for specialized custom products). Lastly, there is still an unexplored potential to work with recycled or “earth friendly” materials.
MAD Out of Hand
February 25, 2014
What was your favorite piece(s)? Who is the artist? What was the method of production? Photograph it.
One of my favorite pieces was the “Fully Articulated 3d Printed Gown for Burlesque Icon Dita Von Teese, 2013”. It was a joint piece created by two American artists: Michael Schmidt and Francis Bitonti. Schmidt create the initial designs and sketches. Bitonti then took Schmidt’s sketches and rendered them on a CAD system. Schmidt says he was inspired by and loosely based his design on the mathematical formulas known as the Golden Ratio. His reasoning is that “it is said that its a spiral that historically has quantified ideal portions of beauty”. Once the 3d design was complete, it was sent to Shapeways for printing. Shapeways 3d printed the gown in several pieces. The process used was laser sintering. The 3000 articulated joints in the gown were rendered within the 3d printed process. The gown was printed in several pieces in white. After it was printed, the printed product was dyed black and then finished in lacquer. At this point the gown was assembled. After assembly, 12,000 Swarovski Crystals were added by hand (see my video below to see the effect).
- The designer
- This is the final result of the dress on Dita Von Teese
- The dress is printed in sections
- Computer model of design
- Once the pieces are printed, they are assembled together
- One section of the CAD model
- Close up of lattice from CAD model
- Visualization by designer regarding inspiration for design
- Visualization by designer regarding inspiration for design
My video of the sparkling crystals: http://youtu.be/12KRvkLb7q4
Video of the artist describing his piece: http://youtu.be/3cFdbxMhtoA
What were three observations/lessons you learned from the exhibit?
1. Software woes. When we arrived at the Museum of Arts and Design, my goal was to explore it front the top down. We were directed to the 6th floor where they were having an “open studio” session with a 3d-printing artist. There I met artist Marcy Milks. She is currently working on a project titled “The Population“. The piece, which is in progress, consists of 20,000 unique 4” sculptures. We had a great conversation about her process. As a software designer, I was particularly interested in her interaction with the software as a canvas and how the technical aspects work. It turns out that Milks deals with a lot of the same obstacles mentioned in the book Fabricated. One interesting issue is that a 3d sculpture/illustration application doesn’t exist. Milks is currently using software intended for animation. The second issue is that the way the files are interpreted present a whole never set of problems. If she 3d prints the design as is, the sculpture would be too brittle and fall apart when being handled. So, instead she first creates her design, then has to trick the software into printing an outer shell of the design. I didn’t understand exactly how this worked, but basically by telling the computer to do the wrong thing (task it wasn’t intended to do), it is able to output a more study sculpture. Essentially the sculptures are still hollow. Why not just print it solid? It’s a matter of cost. She says to print a hollow sculpture it only costs her $6 versus $20 for a solid sculpture. That wouldn’t be too much of a problem for a handful of these, but she is expecting to 3d print a minimum of 20,000 of these little guys!
2. New possibilities of approaching physical art. Another tremendous insight gained from this experience at the Museum of Arts and Design is the new real of possibility that this medium creates. In chatting with Marcy Milks, she mentioned that if she were to create 20,000 sculptures in plaster, by hand or by casting, it would take her much too long and likely lose interest. 3d printing creates an entirely new realm of possibilities. Not just in the case of scale (like Ms. Milk’s project) but also in the complexity of the artwork itself. Additive manufacturing allows for incredible detail not previously possible in mediums such as hand sculpting or injection molding.
3. Another important insight gained from this exhibit is that additive manufacturing is not a solitary one-step process. Most, if not all, of the pieces in the exhibit required significant “post production” after coming out of the 3d printers. For example, the 3d dress showcased above was printing in fragments. Those fragments were then treated with special chemicals, dyed black, and then finished with lacquer.
How does your visit to the exhibit inform what you have been learning from reading Fabricated?
1. Software issues. As I mentioned above regarding the Marcy Milks “The Population”, the software still seems to be in its infancy. The book, Fabricated, went into great detail about the problems with file formats and translating design files into print files (STL). My conversation with the artist above reinforced these issues.
2. Low cost (3d scanning, Microsoft Kinect). One area where I feel that Fabricated left a lot to be desired is the discussion of 3d-scanning. At the last section of the exhibit, Shapeways set up an area where museum goers can be “3d scanned” and then they can order a 3d printed sculpture of themselves from their website. The set up was relatively simple. They had a rotating platform, a solid color backdrop and two photographic lamps. The scanning was done using a retail-off-the-shelf Microsoft Kinect device. This device is sold as a companion product to Microsoft Windows and it sells for less than $150.
In what ways did your visit shape your area of interest in 3D design and printing?
This exhibit truly gave me a deeper sense of appreciation for additive manufacturing. Every art piece was created using some form of 3d printing, in all its different methods (laser sintering, additive manufacturing, etc.). It’s inspiring to see artists experiment and create marvelous pieces with this infant technology. Some of these pieces could only be previously exist in the mind of an artist and thanks to the coming of age for a new technology (ability to create complex shapes, etc.) we are entering into an entirely new realm of possibility. Below is a picture I took of a highly ornate column from the exhibit. This type of high resolution decoration would be incredibly difficult and time consuming to do by hand. The last two photos were of a small diorama in the exhibit which talked about the low cost, rapid, and innovative way of manufacturing homes in the future using additive manufacturing processes. While not as artistically dramatic as the other pieces, I found this to be incredibly inspiring.
Fabricated – First Impressions
February 4, 2014
Admittedly, before reading the 4 assigned chapters I have had some experience with additive manufacturing, otherwise known as “3d printing”. My first exposure was sometime in 2008-2009 while I was working at Tekserve in New York. Tekserve is an Apple sales and service company. Besides Apple products they also sell a plethora of complementary technology products. During that time I worked in corporate sales and marketing strategy. Our customers were mainly design houses, film and music studios. I became interested in being an intrapreneur within Tekserve and subsequently pitched many ideas for expanding the brand. Some examples of my pitches were: Tekserve branded high performance hard drives (with data recovery services included), an iPad content creation academy (at the time iPads were still new and mainly seen as content consumption devices), and a 3d printer reseller. All I really knew about 3d printers was that they were split into two categories. On one side was the tinkerers (consumer level) and on the other side were professional organizations. Before Tekserve I worked in large scale custom manufacturing so I understood some basic manufacturing principles and the value of rapid prototyping. I was also a tinkerer myself, as I often experimented with electronics to make my own audio devices (synthesizers, effects processors, etc..). I was only able to make a little bit of headway with Tekserve. I contacted several 3d printer manufacturers (including Stratasys) and obtained all sorts of pamphlets and 3d printed samples. Back then Tekserve executives did not show much interest. At the time of writing this blog post I noticed that on their website they now offer a line of 3d printers. Besides this initial exposure to 3d printing, I am also aware of many facets in which NASA is experimenting with 3d printers. As a disclaimer, I’m passionate about the work at NASA so I always aim to take what I’m leaning in my courses and apply it to NASA. I digress. Two of the most publicly visible applications for NASA are: (1) 3d printer for tools and parts for crewed space exploration and (2) 3d food printer. I hope to explore NASA related 3d printing topics as the semester progresses.