Technology
3D Printing In Metal- Large Scale
This is why I am wiring the book 3D Technology in Fine Art and Craft. Companies- take note. Collaborate with artists and watch what they can do. I think it will make it worth your while. I love the quote in this article-
“Because he’s an artist, he’s pushing the envelope further than an industry would,” says Autodesk director Maurice Conti, who first grew interested in Laarman’s work a few year’s back when the designer was using a large scale resin printer. “An artist just has a creative vision and they kind of ignore what the tools are supposed to be able to do and they realize their creative vision.”
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Bridgette Mongeon is a sculptor, writer, illustrator and educator as well as a public speaker.
Her blog can be found at https://creativesculpture.com.
She is the vice chair of the planning committee for 3DCAMP Houston 2012 and 2013 http://www.3dcamphouston.com
Follow the artists on twitter twitter.com/Sculptorwriter
Listen to the Art and Technology Podcast
I Need A Couple Of Women To Help
I’m looking for about 3 volunteers, women, with I pads that can help at a young women’s conference titled Expanding Your Horizons in Science and Mathematics. This conference is for junior high girls.
You would be downloading 123D catch and working with a group of girls to scan a couple of things during the two presentations. The date is February 22nd. There are two sessions beginning just after lunch, each about 50 minutes long. We will not be scanning the entire time. There will be a general introduction to 3D technology and the last part we will be scanning. If you are interested, please contact me ASAP. I want to meet everyone before hand, will do something fun at my studio- say Wed. evening of next week. At that time we can get to know one another and be sure we all know the software.
3D Printing And Unusual And Creative Post Processing-
I’m looking for artists who are using 3D technology to print objects and then doing something unusual with the post processing. Post processing basically means the process after the 3D print is complete. Are you painting with a special process? Are you using chemicals, sanding etc. Or are you a company like RePliForm offering a service such as plating as a post process. This is for a book chapter in the new book I am writing titled 3D Technology in Fine Art and Craft. Please send links with photographs if you have them. You can post them to this blog post or on my facebook page.
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Bridgette Mongeon is a sculptor, writer, illustrator and educator as well as a public speaker.
Her blog can be found at https://creativesculpture.com.
She is the vice chair of the planning committee for 3DCAMP Houston 2012 and 2013 http://www.3dcamphouston.com
Follow the artists on twitter twitter.com/Sculptorwriter
Hollowing Out And Preparing A Sculpture For 3D Printing
As I walk this road with the technology, I explore ways to make it fit into my work flow as a traditional artist. There always seems to be something lacking in my process of combining these two. At times this is very frustrating. At one point all the CG artists were shouting, “Try Zbrush and Mudbox it is just like sculpting.” It was indeed very similar to sculpting, but when I am sculpting if I push and pull on clay it does not ruin my armature. Back then, a thing called “retopologizing” seemed to be the holy grail- at least for my process. Retoplogizing simply meant taking the underlying mesh and recreating it to be even, wonderful, sculptable quads. I wanted the process to be as simple as pushing a button. Now, the technology has advanced and at this date and time, retoplogozing is as easy as pushing a button while using Zbrush. I hate having to wait for the technology to catch up with my needs. I cringe when I hear someone say, well if you just use ____ program you could do that. You see, I resisted having to learn, yet another program and spend countless hours doing something that did not feel “just like sculpting.”
Entering the 3D printing world I have had similar problems with preparing models for printing in 3D. In February 2014 I was asked to lecture at 3D printing World Expo. While there I heard the key note speaker Cydni Tetro, founder and Chief Executive Officer of 3DPlusMe and adviser to Disney on technology commercialization, remind everyone that though 3D printing is cool, it is not easy. I demonstrated this same thing the next day in my lecture.
Concerning preparing your files for 3D printing— I’m waiting for the ease of the technology to catch up to my needs. A case in point is the tiger model created for Grambling State Louisiana. I created this sculpture for Grambling and really wanted to see it printed out as a 3D print. I had to modify the design, which I won’t go into right now, I’ll just say, what works for a 15 foot sculpture does not always translate into a small model.
An 8″ 3D print of this sculpture was printed by 3d Rapid Prototyping using a projet 660. At the size shown I am told the costs is about $500. to print. The high cost of this is because it is solid. Hollowing it out or making a shell of it will make it much cheaper to print. However, this process of hollowing out is not as easy as it could be. Well, it is not as simple as pressing a the button. How incredibly excited I was when Rasmus Koch Hansen from the ZBrush forum on Linked in sent this video created by SteveTalkowski my way. I have yet to try hollowing the sculpture out. I do expect to attempt to hollow the tiger out as soon as possible as I would really like to document the book that I am writing “3D technology in Fine Art and Craft.” I’ll report back later on this progress.
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Bridgette Mongeon is a sculptor, writer, illustrator and educator as well as a public speaker.
Her blog can be found at https://creativesculpture.com.
She is the vice chair of the planning committee for 3DCAMP Houston 2012 and 2013 http://www.3dcamphouston.com
Follow the artists on twitter twitter.com/Sculptorwriter
Giving A Hand To Someone In 3D Printing
I’m presently at 3D printing World Expo in Burbank California. I am speaking here on 3D technology and art. Speaking on day two of a conferences give you a chance to check out what others are doing and meet individuals. I have enjoyed doing just that. While here to speak I visited the key note presentation and was very impressed with Mick Ebling. Mick is from a company called Not Impossible. Mick went to Sudan and created what “is probably the world’s first 3D-printing prosthetic lab and training facility. More to the point of the journey is that Mick managed to give hope and independence back to a kid who, at age 14, had both his arms blown off and considered his life not worth living.” The video tells the story.
On the panel was also Mark Setrakian, who brought out a very impressive 3D printed mechanical hand/arm from what looked like the movie Hell boy. When he was done Mick asked Mark if he could make the model open source. Of Course Mark said he could not because it belonged to the movie industry, and Mick said one of the best lines of this conference. I will do my best to quote him “Depending on your religious beliefs, You can’t use IP about the functionality of a hand” It should be open source and available to everyone.
I am thrilled to help share the technology of 3D printing with as many people as I know. I am honored to be in the presence of those who take this technology and use it for the good of people. Mick, let me give you a hand, a standing ovation and a prayer that you continue in your good work.
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Bridgette Mongeon is a sculptor, writer, illustrator and educator as well as a public speaker.
Her blog can be found at https://creativesculpture.com.
She is the vice chair of the planning committee for 3DCAMP Houston 2012 and 2013 http://www.3dcamphouston.com
Follow the artists on twitter twitter.com/Sculptorwriter
It Will Blow Your Mind!
Yes, I’m writing a book called 3D Technology in Fine Art and Craft. It is based on my graduate thesis on art and technology in the traditional studio. I have been gathering information for years and talking to many vendors and individuals who are leaders in 3D technology. All I can say is…
You don’t know what you can do,
until you know what you can do.
When you find out, it will blow your mind.
Picture this…
A book that does the following;
- Inspires through interviews with artists and craftspeople all over the world. Artists who are pushing the envelope with using 3D technology in fine art and craft. The interviews not only inspire you with multiple photographs, but the artists share a list of their vendors, software etc.
INSPIRATION!
- Thinking of trying the incredible technology of 3D Printing. Should you buy a printer, or use a service bureau, and if so which one. What do you need to know to get your feet wet?
Traditional artist wants to dabble in 3D technology. Where do I begin?
- Are you a traditional artist thinking of taking the plunge and incorporating 3D technology in your own at studio, but don’t know where to begin or even if it is applicable?
- Are you a traditional sculptor that would like to be able double or triple your income by giving you time to create instead of working 1/2 of your career making monumental armatures?
- Are you a CG artist and would like to realize your art in a physical form?
- Want to learn more about, CNC milling, or creating a holographic painting?
I have just tripled my income!
- Would you like a one stop resource list of 3D vendors and materials?
This is just a sample of what is in the book.
Not sure of publication date, more to come.
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Bridgette Mongeon is a sculptor, writer, illustrator and educator as well as a public speaker.
Her blog can be found at https://creativesculpture.com.
She is the vice chair of the planning committee for 3DCAMP Houston 2012 and 2013 http://www.3dcamphouston.com
Follow the artists on twitter twitter.com/Sculptorwriter
From 3D Printing To CNC Milling
I’m diligently working on the new book 3D Technology in Fine Art and Craft. I have been plugging away at the 3D printing chapter for almost 2 months now, and I’m glad to say, it is almost done. At least the technical parts are. I still need to contact a vast number of vendors and artists and get release forms and photographs. I timed the completion of this chapter with my lectures that will be given at 3D Printer World Expo 2014. January 31 Feb 1, 2014. I hope to schedule some appointments with vendors while in Burbank and I’m sure I will find a variety of things to add to this chapter upon my return.
When I’m not writing, I’m bidding on projects and doing designs for my own work that will take place in the traditional sculpture studio. These designs are usually started in 3D in the computer. As I push the limits both of the technology and the driver of this technology, myself, I have a ton of questions, problems many that need immediate solutions so that I may proceed.
My work is not like most that are working in 3D on the computer, or shall I say the outcome is not the same. I need to realize my work in physical form. I’m usually challenging the 3D guru guys. But some of my vendors, and cohorts in the tinkering of art and technology often share some of the coolest products and software. Thanks once again Steven Ramariz with Smash Designs. I’ll be getting some of these products and software to try for the book, and some of these are in CNC milling.
As I finish this chapter of 3D printing, I’m chomping at the bit to get going on the CNC milling chapter. There are some pretty cool things to share. I know I won’t be able to hold it all in while I’m writing. So, expect to seem some posts here that reveal a bit of these treasures.
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Bridgette Mongeon is a sculptor, writer, illustrator and educator as well as a public speaker.
Her blog can be found at https://creativesculpture.com.
She is the vice chair of the planning committee for 3DCAMP Houston 2012 and 2013 http://www.3dcamphouston.com
Follow the artists on twitter twitter.com/Sculptorwriter
Pushing The Limits and Size of Fine Art And 3D Printing
I have been a fan of Eric van Straaten’s work for a while now. I found his work by doing research for the book that I am writing titled 3D Technology in Fine Art and Craft. I am thrilled that he has agreed to be one of the featured artists for the book and to share his process. As most of you know, the reason that I am writing this book is that I have been exploring and using a combination of technology and traditional art for a while now. I have reported on it in several magazines. Also, fine art and technology is what I received my degree in back in 2012.
The technology is constantly changing, and I have to spend a lot of time to keep up with it. That is why I hope that the book 3D Technology in Fine Art and Craft will become a series and repeat in the future, introducing the latest in technology and new artists who are pushing the limits. Of course, that will depend on my time and the publisher allowing for future editions, but first I need to complete this one, and there is a lot of research involved.
Now on to Eric’s work.
Because I have been a fan of Eric’s work, I have signed up for Eric’s email newsletter. I love to hear what he is doing. Basically, Eric has been creating fine art pieces through 3D printing. What intrigues me about Eric’s work is that the is not just 3D printed artwork in plastic, but instead the pieces are 3dD printed in color He is just not “manufacturing” work, but selling them as fine art. I have often stated that the themes of Eric’s work are a little risque, but in a way they are charming and the soft almost sugary look that printing in color on the ZCorp 650 gives a sweetness and innocence to the piece that I don’t think would be there in another medium.
Again Eric pushes the limits, this time with size. You see the ZCorp 650 can only print 37 x 25 x 20 cm , which is approximately 14.5“ x 10 x 8 inches. So Eric created 10 different interconnecting parts that are glues together. Also, the ZCorp 3D printed parts are not the strongest pieces to work with, that is why they are strengthened. Eric says “they are probably stronger than you think, comparable to ceramics.” But still, he is nervous about transporting them.
I can’t wait to interview all of these creative and wonderful artists for the book, and I’m so thankful they are going to share their process, vendors and materials with us through 3D Technology in Fine Art and Craft. Apparently I’m not the only one who is into inspiring and encouraging the marriage of fine art and technology.
Eric’s work will be exhibited at the art fair REALISME in the Passenger Terminal in Amsterdam.
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Bridgette Mongeon is a sculptor, writer, illustrator and educator as well as a public speaker.
Her blog can be found at https://creativesculpture.com.
She is the vice chair of the planning committee for 3DCAMP Houston 2012 and 2013 http://www.3dcamphouston.com
Follow the artists on twitter twitter.com/Sculptorwriter
Need Help With This Part Of A Chapter- 3D Printing And Investment Casting
I spend a lot of time on the internet searching for new technology or posting comments on my groups on linkedIn. I am writing a book about using 3D technology in both fine art and craft. I’m putting some of my questions and thoughts below. Please feel free to add to them with things you have discovered, correct my errors in the technological processes, and when possible cite your comments or background. Please let me know if I may quote you if that applies. Also, I’m looking for examples with incredible art. I’m not into showing the creation of oil valves or common items, though that may be what some of these processes are made for. If you have samples of artists or art using these processes, please contact them and see if they would like to be featured in the book and then let me know. I would love to hear about their processes. If you are interested in having an artist try your products to be featured in the book, contact me and I’ll either use my own work, or if I am busy writing, pass it on to another artist that I want to feature, and whose work is top notch.
Investment casting and 3d printing.
Today my search leads me to the topic of 3d printing and investment casting. I’m going to summarize some of my questions in this post and then send this around and hope that some professionals in the industry will be able to help me. It is also my hit list of professionals and companies that I am trying to reach. (Not an easy job as I am presently writing from New Mexico instead of my home base in Houston, Texas, and I do not have my hit list here. This NM trip is another story all together.)
Many things can be burned out of an investment casting. The things I’m noting when discussing these processes of burning out are; detail, a clean burn, temperature, cost, toxicity and build envelope. The few things I am covering in this section of this chapter are listed below. If there are some I have forgotten please feel free to let me know.
ABS and PLA-
Of these I know that PLA is preferred because of the toxicity of ABS. I also have the extrude temperature of ABS as 225 and of PLA 180-200 I suppose this will also depend on the supplier of both materials, but in general is this correct? If this is the extrude temperature what would be the burn out temperature for investment casting?
ABS
* Detail—
* Clean burn?—
* Temperature—
* Cost—
* Toxicity—
* Build envelope–
* Machines and stats and service bureaus and stats–
PLA
* Detail—
* Clean burn?—
* Temperature—
* Cost—
* Toxicity—
* Build envelope–
* Machines and stats and service bureaus and stats–
PAPER AND CERAMIC
In a podcast interview with fellow artist Paul Effinger we talked about burn out quite a bit. But this interview and the accompanying book that I wrote, “Digital Sculpting With Mudbox: Essential Tools and Techniques for Aritst “ with Mike de la Flor showed his work. I believe that his piece “Artifices” was 3d printed with a ceramic powder and dipped in a resin binder. The piece, that we featured on page 187 of the Mudbox book, was apparently printed on a ZCorp510. OK 3Dsystems. So, any updates on systems doing this and details.
The Mudbox book was written in 2009 and printed in 2010 and was one of the first books to feature a chapter on 3D technology in the art. I’m curious how the technology has advanced. What machines and service bureaus are printing paper or ceramic for burn out. How do they compare with the detail, a clean burn, temperature, cost, toxicity and build envelope?
I know that mcor technologies is doing some great printing with paper. I’d like to feature them in another part of the book because I love the color work, but I’d also love to talk to them about investment casting and 3D printing of paper.
With these products it appears that many are dipped into a solution. If your product is dipped please clarify what it is dipped in and why. Also, as an artist I am concerned if a piece is dipped in anything as I know that the dip will really affect the texture on a piece. I love texture on my artwork and this would be very difficult for me.
Also, with all 3d printing texture is more than just what I put into it, but what the material that is being burned out can affect the look of a piece . I have created molds from wet clay, dry clay, and oil base clay and the same figure will look totally different depending on the item being molded. I’m interested in investigating this more with the 3d printing.
WAX
I’m pretty impressed with what I have seen with the wax 3d printing. This piece was sent to me from 3D SYSTEMS a few years ago. I love the detail and take it with me on all my lectures to show as an example. Going to have to dig in my contact list when I get back to the office to find out who sent this to me, and what machine it was printed on. This definitely is an example of the quality/detail that I am trying to show in this book. So what machines are printing wax for investment casting? How do they compare?
I also loved what I saw at envision tech and would love to find someone from this company to talk to.
* Detail—
* Clean burn?—
* Temperature—
* Cost—
* Toxicity—
* Build envelope–
* Machines and stats and service bureaus and stats–PAPER AND CERAMIC
.MGX by Materialize.
I know that .MGX by Materialize has been working on a large build envelope and investment casting. I won’t describe it here, but when I interviewed Joris Debois back in 2010 , we talked about it. We were in contact about 2 weeks ago. I look forward to hearing from.MGX by Materialize. Their process will be a major section in this chapter.
* Detail—
* Clean burn?—
* Temperature—
* Cost—
* Toxicity—
* Build envelope–
* Machines and stats and service bureaus and stats–PAPER AND CERAMIC
Thank you for everyones help. Please feel free to respond here or on linked in, or contact me and let me and we can set up a time to chat if necessary. Thanks in advance,
Bridgette Mongeon
Also note: This section is just about burn out. I am also interested in other parts of 3D technology that are entering or may influence the traditional process of fine art bronze casting, such as what is mentioned in the American Article that I wrote for Sculpture Review in 2007. I’m going to hit up exone and Bob Wood again about printing the investment instead of the piece for investment. I’m wondering how that has changed over the last few years. The 3D printing in metal is discussed in another section.
An Encore of “Taming The Beast” Presentation
I’m in Sata Fe this week checking the progress on the Grambling State Louisiana Tiger. While here, I presented a lecture called Taming the Beast: 3D Technology in Fine Art and Craft. In the lecture I spoke about the creating of the tiger, how 3D technology is advancing, and how artists are using 3D technology in their workflow. The lecture features a modified and very shortened version of what will be in my new book, 3D Technology in Fine Art and Craft. Shidoni Foundry hosted the first Santa Fe lecture.
I gave the second presentation of Taming the Beast at a private gathering at Mary Anne’s Stickler’s home. Mary Anne is my host while in Santa Fe and has opened her lovely home to me.
There has been discussion about doing yet another repeat performance of the lecture while I am here. I have extended my stay, and I am in town until the 27th. If we can schedule this, I’ll let everyone know the date, place and time – probably through this blog post or Facebook, so feel free to like my Creative Sculpture facebook page, and comment here on this blog post or on Facebook about the best dates for you, and if you would like to attend. We don’t need a big crowd, 8-20 people is fine.
I will also state that for those people who have heard the lecture, you might also be interested to note that Shidoni Foundry has regular bronze pours on noon on Saturday. If you have never seen this take place it is breath taking. Here is a video they helped me create when they poured the tiger head. Give them a call to reserve your space,1508 Bishop’s Lodge Rd., Tesuque, New Mexico 87574 (505) 988-8001. You can also request to see the beast.
If enough people are interested, and Shidoni is agreeable, maybe the repeat performance can be done there on Saturday morning, before or after a pour. Let me know your preferences, I’m also open to another venue if someoone has suggestions.
For future reference, a Santa Fe artist asked if I would come back and do the lecture in Albeququerqe in the Spring, he is organizing it. I’m delighted. If you know of anyone in Albuquerque that might like to be a part of this as either and attendee, sponsor or would like to host, please let me know I’ll pass the information on to him.
IF YOU ATTENDED EITHER LECTURE
I would greatly appreciate your comments. Please feel free to post them below. Please note, if you comment you are giving me permission to use these elsewhere. These comments are very valuable for me because they help others get a feel for a lecture. For example two that I use quite often concerning my Marketing in the Arts workshop state:
“This workshop is a necessity for every practicing artist and student. I commend Ms. Mongeon on the development of such a resource. “
Professor David Hickman University of Houston
Former President-Houston Society of Illustrators
“I left the room with the certainty that if fame and fortune were going tobe mine, it would only occur if I took the bull by the horns, and you showed me not only where the bull was but how to get the horns, as well.
Besides your ebullient enthusiasm, which is highly contagious, you also shared with us lucky attendees really practical steps to getting where we want to go. I left the lecture with a suitcase of ideas.”
Mary Erbert
Artist-Houston
IN CLOSING
I would like to thank everyone in Santa Fe for their warm welcome and excitement over my work and my research. if you have attended Taming of the Beast: Using 3D Technology in Fine Art and Craft , please feel free to comment here and and include your name and title and location, also let me know what you think about a time , date and place of a repeat performance of the lecture.