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Everything posted by TomDM

  1. Wow Corinne. Your work is wonderful! My daughter went to Moore College of Art in Philadelphia. She is going to really appreciate what she sees when I send her a link to your site. Polymaker makes a filament called PolySmooth that allows us to use alcohol vapors to smooth out the lines in an FDM print. We have the PolySher which is the device that creates the alcohol vapors for smoothing. It might be fun to see how well it works for stamps. Thank you for commenting. I loved it!
  2. This sounds like something very useful for our students on the autism-spectrum to tackle. Perhaps we could work together to come up with what is required to make tools useful to clay artists. Certainly stamps fall into this category. Classes will be starting soon and I'd like to follow up on this. Ultimately, our goal is to find a way to set up graduates on the autism-spectrum with a self-sustaining employment path using 3D printing. This is the kind of project they could begin doing while still in school helping them to become familiar with the clay world. http://www.youthquestfoundation.org/tag/vancouver-itech-preparatory/
  3. We're trying to go through 50+ years of 'stuff' and, as I was going through books and magazines I ran across two copies of Ceramics Monthly from January 2000. That was a LOT of years ago! But, they look as good as the day they were delivered. There is a reason why these copies will not be discarded. The most important is that they contain an image of my daughter's sculptural ceramic work called "Confluence" and the second was that I had taken the image used in the article using a digital camera. And, that was a time when photographers were loudly claiming that digital photography would NEVER be accepted for juried shows. It reminds me that "Never" is usually NOT an accurate statement. There is one more thing that should be noted about that article that might be important for today's ceramic artists. Based on the image in the "Up Front' section, a collector from New England contacted her and purchased a different piece, sight unseen. The item in the magazine was priced at $400. But, if I remember correctly, he paid around $1600 for the item he ended up selecting. Obviously, it can pay to have your work mentioned in Ceramics Monthly.
  4. This is interesting to me. Are we talking about transferring COLOR to clay or being able to cut or form a shape into the clay? If adding color imprints, at what step might this best be done? The answers could guide our upcoming advanced 3D immersion class exploration. We like to give the students real-world lab exploration projects. And, this sounds interesting. Smooth-on has a variety of materials for creating molds and/or stamps, I've not nee happy with creating stamps for printing on paper; but, our cadets might be fascinated with finding the best material for stamping color on ceramics surfaces. Cool!
  5. Thanks. I fully agree. One you done or two, the process becomes quite simple to manage. I like the ability to zoom in and out on specific features.
  6. Ceramic work is a three dimensional art form. And, I love viewing this art form in 3D viewers. The primary 3D viewing platform these days is Skeptchfab. It's capable of showing a 3D design or captured object from all sides and at any angle. The good news is that it is free. And, you decide whether or not the general public can see it without a direct link you provide. Moreover, you can block downloads. Capturing real-world 3D objects is getting easier and better all the time. While we have 5 different dedicated 3D scanners, at YouthQuest Foundation, we've come to rely on photogrammetry more than scanning to capture objects and turn them into virtual objects that can be uploaded and viewed in Sketchfab. Photogrammetry relies on video or a series of images to construct a 3D file. Our favorite is 3DZephyr. While there is a free version that works quite well, we use the next level which allows for more images and smoother captures. Samples of 3DZephyr captures can be found HERE. Qlone is an app available for the iPhone and iPad that was used by the students of iTech Vancouver Middle School to create a virtual museum containing over 100 historic objects from Fort Vancouver. iTech Virtual Museum Color and shadows are important to the capture process as changes in these dimensions provide the reference points for stitching together the individual images to build the 3d model. The Sketchfab Viewer can be embedded in your personal web pages. I'd be happy to help anyone that might like to explore these tools. I can tell you this. There is a small learning curve; but, a HUGE feeling of satisfaction seeing your work in 3D.
  7. I agree. Knowing a location, or even a general area, invites nearby people who could possibly help directly speak up.
  8. In this case, they glazed and fired the piece. So, it arrived completely finished. The bulk of the cost was shipping from the Ukraine. Their headquarters is in New York; but, their print-on-demand is only gased in the Ukraine for now. I suspect that they might set up a econd print-on-demand site in Hartford, CT at some point. That is where I expect to go see the Ceramo Zero Max. At YouthQuest Foundation, we suspect that ceramics 3D printing will be an important component of our training for at-risk young people. As such, it's important to us to explore the viability and possibilities. We are educators first and foremost, so communicating what we are learning along the way is part of our DNA. In this spirit, I have started a new blog to document our progress and communicate our findings. There isn't much there right now; but, it should grow a;most daily. http://3Dfired.blogspot.com The reason we are a good fit for this kind of exploration is that we have been teaching 3D design and printing for years. So, we know that side of the equation. We already have experience with both SLA and powder/binder printing technologies and, I have a personal electric controllable Kiln that we can use while experimenting. If I get in over my head with the clay post-processing side I have my daughter to bail me out. So, I am hopeful that the blog will be helpful to people coming from both the design and the clay side as they consider 3D printing of ceramics. For right now, we are limited to being able to explore the SLA technique of printing ceramics. Frankly, it is not my favorite method of 3D printing. While it produces beautifully detained prints, the resins require extreme caution. And, there are many more failures than one might how with a powder/binder printer. But, it is what is available right now and this is so important to us that we will work with what we have until something better comes along. Which means we're really hoping the Kwambio Ceramo Zero Max turns out to be reliable and effective.
  9. Thanks! Let's see if this link to the 3D viewer on Sketchfab works. It is not a captured 3d image, it's the original design colored using Meshlab. But, it should give everyone a good idea of the design and how well Kwambio pulled off the print. https://skfb.ly/6KAC6 BTW, Sketchfab is a terrific platform to show ceramic works. I use 3DZephyr to capture real world objects that can be displayed on sketchFab. Here is one such capture. https://sketchfab.com/3d-models/apulian-vase-300-400bc-5f8ea5f99a24432b85593b7a98216abe
  10. At YouthQuest we are interested in a wide variety of 3D printing technologies to see how they might be helpful for the at-risk young people we serve. While most of our instruction is done off-site, with consumer 3D printers, we do have a space we call the 3D ThinkLink Lab where we bring those who have shown the most effort for a week of advanced 3D scanning, design and printing using professional additive manufacturing printers. It's operated as a true lab in that the cadets test new equipment and techniques and prepare a report at the end. Recently, Formlabs released version 5 of their ceramic resin for the Form2. And, Kwambio announced a desktop 3D printer at about $5,000. It's essentially the same technology used in their professional printer that they use for their ceramics print-on-demand service. We have a full-color powder-based 3D printer. But, it uses gypsum as the powder and essentially Crazy-Glue as the binder. The down side is that the output cannot be fired, so it lacks durability. Thus, the idea of a printer that outputs ceramic greenware that can be fired is VERY appealing to us. So, I decided to take two paths to explore 3D printing of ceramics. (1) We obtained a donated Form2 and purchased Ceramic resin to test and (2) I ordered a printed part from Kwambio as the basis for initial comparison between the two technologies. The Kwambio ceramic print is of our own design and based on Kwambio's guidelines. We purposely added internal features and cut-outs that might be difficult to accomplish by hand. While a very skilled artisan using a coil technique might be able to pull it off, it certainly could not be cast. And, would really take some effort on a wheel. The printed object arrived last night. An image is attached. The printed object is 58mm high by 72mm wide, which is within one millimeter of the design specs. While my photograph may not do it justice, the surface quality and color character are stunning in person. If I actually had one of their printers, I would make the object at least twice as large and finish it quite differently. But, at least I now know the baseline of what a clay based powder 3D printer can do. I will be printing roughly the same design on the Form2. The reason I say "roughly" is that the guidelines for the Kwambio suggested 4+mm walls and the quidelines for the FormLabs Ceramic resin call for walls of 2-3mm. There are reasons for these difference which I will be discussing later. But, for now, we'll have to wait for the first ceramic print out of the Formlabs. At some point, I hope to capture the object in 3D for viewing at all angles on Sketchfab.
  11. Perhaps that is why 3D printing has been called a "disruptive technology." Perhaps there is no place for 3D prints in juried shows at all. That would seem reasonable as long as those submitting works are honest. But, does a work have to qualify for a juried show to have income value for an artist or designer? Isn't there a place for production work that permits an artist to continue making jury level objects by providing income at a production level? By the way, Dizingof is quite ready to sue those who rip off his designs and use them without permission. He did that with 3D Systems and some other big 3D printing companies that showed prints of his work at conventions. On the other hand, he does sell commercial licenses to print his work with attribution. I think the word "manufacturing" is a critical and valuable observation.
  12. Only at the risk of death should I crack the piece! I am DEFINITELY a coward!! Personalization is probably the greatest appeal for 3D printed ceramics for consumers. Not everything has to be art to have personal value. The questions regarding art shows is an interesting one. Those creating handmade jewelry have to contend with borderline products in the next booth all the time and I know that is very painful to those passionate about their work. Let me throw one more thing into the mix. Ceramics is unlike just about every other medium in its permanency. It is not uncommon for the most common ceramic items to survive for thousands of years. That alone adds some value. I was watching a program about a mass grave found that held the bones of more than a thousand people. There were cloth fragments, strands of gold and some jewelry. But, absolutely nothing was found that could be used to identify a single person. The value at the time it was created might have been insignificant; but, a single small piece of personalized ceramics on just one of the people would be a major find of tremendous value now.
  13. Both comments are interesting observations. Thinking about it, printing a Dizingof design WOULD be more like manufacturing. That is a VERY astute observation! The instagram link represented the works of many artists using Kwambio's print-on-demand service. But, you are right. It IS possible to scan just about any object and reprint it. While it's not a huge problem today in the ceramics world, I suppose it is something we have to well aware of in the future. But, there are ways to thwart a 3D scanner or photogrammetry software. For instance, some of my daughter's ceramic work is next to impossible to duplicate from a 3D capture due to the open areas.
  14. I think you are right on both fronts. Since I do not consider myself an artist, I think I fall into the category you describe. In fact, when I find threads regarding the Formlabs ceramic material the most asked question is, "What's a good kiln?" They have little or no experience in clay at all. Traditional clay artists will need help with 3D design and 3D design artists will need help with the basics of working in clay. I would hope I can be of help to both groups of people and a catalyst for expanding the creative process for everyone.
  15. This is EXACTLY why I started this thread. I wanted to hear questions like this one. Here are links that those wishing to explore this topic might find interesting. The first is to the web site for the 3D artist known as Dizingof. https://www.3dizingof.com/product-category/math-art/ The second is to the gallery of objects that Kwambio has printed from various artists and designers which gives us some idea of how some artists are already taking advantage of 3D. https://www.instagram.com/kwambio/ Now, all of these items are glazed in a single color as the printers are not yet released. The pipes are VERY cool. But, do not really require a 3D printer to create.
  16. Every 3D printing that is capable of producing in ceramics ends up with greenware as the output at one stage or another. It's what happens next that determines the uniqueness and/or value of the end result. Perhaps those embracing 3D printing will focus on the unique design capabilities of 3D design, making shapes impossible to cast or natural random drooping of unsupported elements. " A wise 3D-printer of ceramic ware will introduce random variations in her design code; every mug made on the printer will be unique! " This is certainly an option. And, very easy to accomplish. "People like handling handmade items -This will never go away. We will all never agree on this as its a Ford/ Chevy topic " I don't even think we HAVE to agree or embrace it. That's the beauty of creativity and craft. It is the INDIVIDUAL expression that matters. In some ways, if one looks at 3D in totality, it simply widens the creative opportunities like incorporating 3D scans of people and cherished objects into the design. But, it will never replace the quality that hands bring to a piece. It will simply have a different charm.
  17. " Your hands are a 3d printer man, one of the fastest on the market " That's for sure. I LOVE using 3D printers; but, raw speed is NOT one of the strengths.
  18. Two thousand and three hundred years ago, a potter and/or a painter of pottery might have had the same thought. But, that person's work sat in the ground for two millenia and two centuries until it was found to be appreciated once again. It's sitting right in front of me and I appreciate the work of that unknown "bottom feeder" with deep admiration every time I look at it. Could I appreciate a painting that had been in the ground that many years? Now, you can enjoy it virtually! https://sketchfab.com/3d-models/apulian-vase-300-400bc-5f8ea5f99a24432b85593b7a98216abe Remember, as you view it. The painting is in REVERSE. The UNPAINTED region is in red and the PAINTED area are in black. While this is not the finest example of this type of work, think of the skill that took!
  19. David Judd Nutting's book, "The Language of Nature" has had a profound impact on my view of the creative process.  I was fortunate enough to work with Dave when I worked for the video game company "Astrocade" in the early 1980's.  But, my already high opinion of his creative genius skyrocketed with my reading of this book decades later.  It's out of print now.  But, anyone desiring to understand the essence of creativity would do well to try to find a copy and read it.

    It comes to mind today because I just ordered my fourth copy today because I keep giving away the ones I've had.

    1. LeeU


      In the U.S. it can be ordered from https://www.alibris.com  

    2. TomDM


      Thank you for that link.  It's not a long book.  But, it's an important one if a person wants to explore the fundamental core of creativity.  Along the way, they get some easy to understand explanations of how quantum physics plays into the process.  I love it.  And, I need the link because I keep giving mine away to encourage others and having to purchase another!  :D

  20. Actually, I have experimented with that very thing. There are actually several flexible filament manufacturers which could be used for making stamps. My favorite is M3D's Tough material. You need a direct drive extruder to print with flexible material; but, M3D's small Micro+ works very well. One can also easily create a mold in plastic and cast a stamp using one of the Smooth-On materials. I've experimented with stamps created using both methods. But, I am not comfortable declaring that the result would be better than commercial stamps because I have so little experience with stamping. Most of my explorations are of the "can it be done" variety to come up with projects for our students. Wow! Just noticed you are from Harpers Ferry. A lifetime ago (1970's) I used to create training videos for the Mather Training Center and loved every visit!
  21. "For most potters it removes the part of working with clay that drew them to the craft in the first place- working with clay. " And, that is a valid point of view. I got into 3D printing because of my daughter's work. But, she has the same feel toward the tactile reasons why she is doing art. In the other hand, 3D printing offers completely new complex design opportunities not available otherwise. The important thing for me is the aspect of FIRING. Of all the materials one can 3D print, ceramics that can be fired offers the closest thing to immortality in a product. What other material can lay in the ground for thousands and thousands of years and still look so amazing when someone in the future digs it up! " You still have to have a creative mind, and a good eye for design, even if the printer is doing the actual building of the piece. " That's my takeaway. In the end all artistic expression begins in the imagination.
  22. I think I checked out the work of the Hammerly Ceramics. https://www.facebook.com/pg/HammerlyCeramics/posts/ Thanks for the heads up. His Etsy site is interesting. This has already been a very valuable discussion. His seems to be an example of using standard plastic printing and creating molds from the prints. The real creative process, beyond the 3D design itself, is in the uniqueness of the finish (glaze, etc) of each individually molded piece. The replication issue is an interesting one. One printing in 3D has the choice of making a single object or many. The question would be which strategy has the greatest value in return over time. And, they still have the option, like Hammerly, to emphasize uniquely finished parts that might have the same shape; but, not the same outcome. That is something they have to consider. Many items that could be 3D printed could never be cast. I will be experimenting with a Formlabs printer over the next few weeks and will try to print some designs that could not be cast... but, could be replicated through multiple iterations of printing. I wonder if many members of the forum already work in some 3D design program?
  23. Thanks! The art show question is certainly relevant. As a new user I hesitate to post any links; but, the upcoming 3D printers, using powder, should be able to produce amazingly complex designs with very small features. So, the results will be quite different from the extrusion clay printers that have been around for a while. It seems to me, that for the members of this forum, the ability to use 3D printing as parts of the workflow brings both positive potential and negative consequences. For instance, things that took my daughter weeks to carve with precision can be done on the computer in minutes. How might that impact the value of her hand-made work, which took amazing amounts of skill?
  24. I have had a long-time interest in 3D printing. And, it began from my vicarious interest in my daughter's carved ceramic sculpture. Recently FormLabs released a ceramic resin with which I will be experimenting. But, my real interest is in the potential of powder-based ceramic 3D printers to be released soon. Knowing that part of the appeal of working in ceramics is the tactile nature of the medium, I'm wondering if adoption of 3d printing of ceramics will come from outside the current community of ceramics designers or will some from inside the current community also find a place for 3D printing. I would love to know what you think.
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