3DCAMP Houston Returns In 2012 With The Collaboration Of The University of Houston to Build STEAM

Mike de la Flor’s 3D illustration of T-cell being attacked by HIV

Press Release (Houston, TX—June 24, 2012) 3DCAMP Houston, a local organization supporting education in all things 3D, is proud to announce its return scheduled for Saturday, September 29. The University of Houston College of Natural Sciences and Mathematics and the School of Art will host 3DCAMP Houston 2012, featuring a number of expert speakers who will discuss 3D technologies and how they are impacting new and existing disciplines. This year the camp will also feature an art exhibition to showcase the impact of technology on art.

3D technology, once reserved for the likes of sophisticated science fiction films, has advanced to now include a myriad of artistic and scientific disciplines. This year’s camp will showcase these advancements with presentations exploring innovative technologies. From holographic paintings that tantalize the viewer to 3D printers that produce completely formed sculptures, there is something amazing for everyone to experience.

The goal of 3DCAMP Houston 2012 is to encourage and educate individuals about the use of 3D in various disciplines; therefore 3DCAMP 2012 is returning with STEAM, an educational initiative that supports 3DCAMP Houston educational goal of incorporating and encouraging the blending and education of Science, Technology, Engineering, Art and Math (STEAM).

“The College of Natural Sciences and Mathematics at the University of Houston is pleased to help further the community’s appreciation and knowledge of the many aspects of 3D applications in our modern world. The rapid evolution in visualization technology is playing a critical role in advancing many important areas, from medical and surgical techniques to new methods of energy realization and information transmission,” said Mark A. Smith, dean of the college. “With the university playing a critical role nationwide in these developments, it is satisfying as well as natural to help bring this understanding to our community through 3DCAMP 2012.”

Sculptor Bridgette Mongeon uses 3D technology in presentations and armature building

Rex Koontz, director of the university’s School of Art added, “Technology, art and design are converging into a significant force on our cultural and economic landscape. The School of Art welcomes the opportunity to work with the cast of 3DCAMP to further the goal of creating synergies between art and technology.”

3DCAMP Houston is an all-day event and is open to the public. It features lectures and presentations from professionals in the arts, architecture, engineering, science and much more. Online registration will open in July at www.3dcamphouston.com

Vendors will be on hand to demonstrate the possibilities and uses of some of the most interesting and mind-blowing 3D technology. “The Third Dimension,” an art exhibition comprised of 3D art, will be open to the public on Friday, September 28.

For more information concerning 3DCAMP Houston 2012, the art exhibition, and volunteer opportunities please visit www.3dcamphouston.com.

Media Contact:
Bridgette Mongeon

Please feel free to repost this press release, with photo credits.

Which Medium Do You Think Is More Flexible, Digital or Analog Clay? An Austrian Student Interview Cont.

2. Which medium do you think is more flexible, digital or analog clay?

I have described a bit of this in a previous post, however, in defense of digital sculpting, the tools that are available intrigues me. For example, sculpting symmetrically, though no person is symmetrical, I can change that at the end.  But in digital I don’t have to sculpt two eyes, or two ears, etc. When I can shorten the amount of time of getting the shape and instead focus on the detail the technical process allows me more time for creativity.

By far the most hindering part of the digital process is the output. There are still a few factors that interfere with my process in this area. One is cost, and the other is the medium, also the build envelope or size. I’m finishing a bust in traditional clay right now, but I would much rather have created it digitally. However, my resources for out put would have been milling in foam, a good armature for larger pieces, but I would have still had to do the details again, and I do not like the stiff look that a piece of foam covered in clay has.

Rob Neilson’s sculpture Monument to St. Elizabeth of Hungary is featured in Bridgette Mongeon’s book Digital Sculpting with Mudbox- along with other resources for output for digital art.

I could mill it out in stone; I must say I anxious to have a project where I can explore this more. All my life I have sculpted in clay, concrete, bronze or pourable mediums. Now with digital milling in stone I can extend my tool set to “stone carver”. With the Digital Stone project, I can create artwork in this medium, as well. This excites me to no end. When I think of the possibilities I also consider the many projects I have given up over the years not having this skill set.

I also love the idea of doing more architectural sculpting work using the digital tools. Creating a finial and being to enlarge it 20% or anything in steps of enlargement is huge. There is no price that can be put on that.

However, digital printing in any other medium is not a viable option, either because of the build envelope or the cost.

Home 3D printers like the cupcake are the beginning of something bigger for those wanting to make 3d models in their own art studios.

Im intrigued with the research at Solheim Additive Manufacturing Laboratory in the Mechanical Engineering Department on the University of Washington campus.  If only I could create in the computer and then digitally print out my form in clay in my own studio, like they are doing at this lab. I think this would be a viable resource for me. I know that the open source “free” 3d printers like Rep Rap or maker bot have some attachments to digitally print in clay, and I’m waiting to see how these evolve.

I think another resources is materialize by .mGX for going directly to bronze, though very expensive. I have visions of using them on an intricate piece similar to Alfred Gilbert’s Virgin Mary or St. Michael. Pieces that would be a nightmare to recreate in a triditional bronze process but could easily be done with .MGX.

The very near future will  drastically change the way I work. As many of the patents have ended on 3D printing, I believe you will begin to see a change in the cost factor and availability of home 3D printers. I still may be limited by the build size, unless, of course, I can figure out how to change a machine to accommodate my needs. I’m not sure I am that mechanically savvy.

As I write this, I find an aching. To go from screen to finished project without touching it leaves a hole inside of me. I am afraid I will not be able to “feel” the emotion of the piece unless I touch it. Oh, this is a strange thought.

Though looking at the quick sketches in my Mudbox video I can feel the emotion without touch. Will it feel the same digitally printed?

Remember, I am still a traditional artist. I get paid for a tangible piece of art. I need to get the sculptures out of the computer. I must base my choices on that final output.

This is an interview of 10 questions by Mathias Herbster of FH Vorarlberg University in Austria directed to Sculptor Bridgette Mongeon about the comparison of digital and traditional sculpture.


Bridgette Mongeon
-Sculptor, Writer and Speaker

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 also the owner and creator of the God’s Word Collectible Sculpture series

Follow the artists on twitter twitter.com/Sculptorwriter twitter.com/creategodsword

Facebook http://www.facebook.com/bridgette.mongeon

Listen to The Creative Christian Podcast or the Inspiration/Generation Podcast Click on Podcast Host Bios for a list of all podcasts.

Listen to the Art and Technology Podcast

Antiquities, Masterpiece, Rights of Ownership and 3D Scanning

I have been spending some time looking at historical artifacts and the copyright and ownership issues surrounding them.  The reason why this topic has created some interest to me is that I’m curious about the advancement and tremendous increase in 3D scanning of artifacts.

It seems there are benefits in the 3d scanning of these precious items.  There may be information captured by the scanner that will help scientist know more about the item.  It offers an opportunity to document and make accessible the information.  For example, the tomb of Tutankhamun is being scanned in hopes of preserving it so that the experience and information can be made available to those interested  without actually having to make it accessible for individuals to experience it.  This is important because the experiencing of some artifacts causes more damage to them. And it can be an asset in the restoration of an artifact.

Recording the tomb of Tutankhamun from factum-arte on Vimeo.

I have been cautioned not to  just embrace all of this new technology without trying to thoroughly examine it. So, I must ask myself, what are the cons of having the artifacts scanned in 3D?  Before I answer that, I thought it would be appropriate to look at some of the issues and questions revolving around the artifacts themselves.

For example:

  • Is it ownership that is important or access?
  • If I own land and I dig something up on my land.  To whom does it belong? It will depend on the country you are in and the laws within that country. The antiquity may not belong to you. If it did not, would I report it or would I be more inclined to cherish my treasure without saying a word ?
  • Many laws are developed in hopes of preventing looting of antiquities. Do they actually accomplish this?  How do these laws effect poorer countries?
  • How do I feel about cultural property?
  • If something is taken or looted what happens to “the loss of context?”  Having a coin but knowing where it was found or what the people who had this coin did, ate, where they slept, is important. It is not just the object that is researched, but where it was found.

How important is it for individuals to be exposed to the cultures and antiquities of those around the world?  Should countries horde their antiquities?  If antiquities can be distributed through trade, what happens with countries that have nothing to trade?  How do they expose their people to the cultures around the world?

According to an article that I read, if I happened upon a stolen or found object and it ended up on the desk of an archeologist and it had something of importance on it, that information cannot be published. How difficult it must be for the archeologist who happens upon this. The reason—  it has no legitimate provenance and the Archeological Institute of America forbids it. Why? If the archeologists should transcribe it and publish it, then they would be determining its authentication and making it more valuable.

Identity, self esteem, illicit digging, artifacts, private/market all of these words initiate a tremendous amount of passionate opinion in the information that I was reading about this subject.

Should there be a cultural common? Shared information and artifacts between countries, museums and collectors.  The  Brooklyn museum is making some of their artifacts, for which they hold the copyright,  available on a Creative Commons License.  Those who want to use them for non commercial use can do so.  But, how is this policed?

I would suppose that the same questions and concerns that are found with traditional masterpieces and antiquities will apply to 3D scanned artifacts.  Who owns them?  Should they be reproduced?  And my biggest thought is, that it is much easier to steal a data file than it is a physical dated fossil.

I also wonder about the artists who might use these artifacts as part of their own work. In the case of artists Barry X Ball, whose work I absolutely love, I have questioned this.  Ball has taken digital scans of two Braoque pieces, “Masterpieces in the permanent collection of Ca’Rezzonico, Venice— La Purità (Dama Velata), by Antonio Corradini, and La Invidia by Orazio Marinali, as well as Hermaphrodite Endormi from the Louvre, Paris.” and he has digitally scanned them.  Then he recreates them using digital milling in another substance.  Does he sell these?  Can he sell these? Is this art?  Can he copyright this as his own?

So I ask the question, What are the pro’s and con’s  and more importantly, what are the questions I should be asking when looking at this new technology of 3D scanning as it pertains to masterpieces and artifacts?

( I do hope to cover more podcasts on this subject. Looking for lawyers working with antiquities)

If you are reading this blog post from facebook and do not see the videos and or photographs visit https://creativesculpture.com/blog

The New Podcast Art and Technology is Up- Feel Free To Use Them On Your Site

Sculptor Bridgette Mongeon is the host of Art and Technology podcast

“A fire side chat where innovation, creativity, technology and science meet.”

Art and Technology Podcast

The art and technology podcasts are up. And you are welcome to include them on your site.  Check out the link at the end of each post here.  You can listen to the podcast at http://www.digitalsculpting.net.  Once there, press on the link in the upper nav bar that says “podcasts.”

The podcast has been submitted to iTunes and we will let you know when you can subscribe to it in iTunes. We would, however like to have you stop by digital sculpting.net to listen and reply on the forum threads for each post. It is a great way to create a dialogue on these topics.

I’ll also put a direct link to the new podcasts below so you can listen right from your browser.

You can see a player and listen from this website at Videos and Podcast page of this website.

Here are the podcasts that have been recorded to date:


Host of the Art
and Technology
Podcasts and
author of Digital
Technology in Fine
Art and Craft:
Exploring 3D Printing,
Scanning, Sculpting,
And Milling.

Art and Technology 001- Introduction
LISTEN NOW from your browser

An introduction to the Art and Technology Podcast. Host Bridgette Mongeon and illustrator/writer Mike de la Flor talk about their hopes for digital sculpting.net, the Art and Technology podcast and the new book Digital Sculpting with Mudbox: Essential Tools and Techniques for Artist.

A bit about the host Bridgette Mongeon

Bridgette is a traditional sculptor and a writer. She has been creating podcasts for two years on various topics and looks forward to exploring art and technology with the community at DigitalSculpting.net. Her passion for this subject is fueled by her ongoing graduate studies. She is also coauthor of the new Mudbox book and co-administrator for the digitalsculpting.net website

Interview with Mike de la Flor
Mike is a medical, illustrator/animator, instructor and writer. He is the author of several CG titles including the popular The Digital Biomedical Illustration Handbook. He has written dozens of articles for 3DWorld, Computer Arts, and MacWorld among other magazines. Mike is also the co-administrator of the DigitalSculpting.net website.

* Listen to the podcast from our podcast player on the nav bar at Digital Sculpting.net
* The forum for this topic. You may add your comments and thoughts
* The direct link to this podcast segment- should you want to put it on your website or blog


Robert Michael Smith was our first interview

An Interview with sculptor Robert Michael Smith. Art and Technology 0002

Please see previous post for more information about Robert Michael Smith 

LISTEN NOW from your browser

* Listen to the podcast from our podcast player on the nav bar at Digital Sculpting.net
* The forum for this topic. You may add your comments and thoughts
* The direct link to this podcast segment- should you want to put it on your website or blog


An Interview with Joris Debo from Materialise .MGX Art and Technology 0003

LISTEN NOW from your browser

Joris Debo of Materialise talks about new technology in 3D printing and investment casting

An Interview with Joris Debo from Materialise .MGX discussing some of the highest quality of 3d Printing.
Joris Debo from .MGX, a division of Materialise talks about the technology of large scale 3d printing and investment casting that their company is offering to the traditional and digital studio. .MGX works with 3D printing technologies and some of the top designers in the world.

Check out the .MGX catalog for some very inspiring artwork
This link lets you download both catalogs

* Listen to the podcast from our podcast player on the nav bar at Digital Sculpting.net
* The forum for this topic. You may add your comments and thoughts
* The direct link to this podcast segment- should you want to put it on your website or blog



Interview with Kevin Gillespie Art and Technology 0004
LISTEN NOW from your browser

Kevin Gillespie talks about copyrights and 3D

Kevin Gillespie pioneer in CG, talks with Host Bridgette Mongeon about 3d technology and copyrights- from a personal viewpoint.  How can we protect ourselves as artists?  How can we be more aware? Copyright in 3D is an  emotionally charged issue.

For more information on this case, copyright issues and other information as well as a discussion of this topic please visit the digitalsculpting.net website.  We would love to hear what you think about this heated topic.

* Listen to the podcast from our podcast player on the nav bar at Digital Sculpting.net
* The forum for this topic. You may add your comments and thoughts
* The direct link to this podcast segment- should you want to put it on your website or blog


Article Not a Model Decision a wonderful blog article by a lawyer

Article  Important Case ( maybe): 10th Circuit on Copyrightability of Digital Model


So who is next?
Some great guests are planned:

Andrew Silke– From the Guerilla CG project

Adrian Bowyer– the developer of the REP RAP

Next Enginedigital scanning

Oron CattsThe Tissue Culture & Arts Project ( this is a strange one, you must listen)


I Am So Excited. I Just Scored Two More Interviews For The Art And Technology Podcast!

Each person I ask is because I am very interested in what they are doing, researching, or their place in this field. Do you want to know the two? Yes, more global interviews courtesy of Skype!

Adrian Bowyer- Bath
From Mr Bowyers website. “I am a senior lecturer in the Department of Mechanical Engineering at the University of Bath working in the Biomimetics Research Group on the RepRap Project and the Bioaffinity Applications Laboratory.”  I thrilled about this interview.  I have posted some wonderful videos about this man and what he has been doing.  I love the idea of the RepRap.  For those of you who don’t know what that is, a Rep Rap is a printer that prints objects in 3d, but no one that you are going to spend hundreds of thousands of dollars on. It is an open source project.  You could build one of these for your own office/studio.  I want one!   Oh yeah, Did I mention that the RepRap can print itself?

Andrew Silke- Sydney, Australia
Mr Silke’s webiste the Guerrilla Cg Project states, “Andrew Silke is a professional animator and founder of The GuerrillaCG Project. With over 8 years experience he has worked on major feature films such as Happy Feet, Scooby Doo, and James Cameron’s new movie Avatar as well as creating award winning short films like as ‘Cane-Toad’ (with David Clayton).”

“The GuerrillaCG Project is a free non for profit organisation that hopes to make it easier to learn high-end computer graphics.  We are building a team of volunteers to create videos, that describe in an easy and understandable manner, the fundamental concepts of computer graphics. ”  I love this site and Mr. Silke’s dedication to education. If you are new to digital technology or a traditional sculptor needing to begin to know about the process of digital technology this is a great place to start.

Subdivision Topology: Artifacts from The Guerrilla CG Project on Vimeo.

Calling artist and those interested in technology and art.

I love the ideas behind Adrian Bowyer and the Rep Rap. Here are two new videos.


A short one discussing the entire concept behind rep rap.

TAKE NOTE: a rep rap new addition. extruder for ceramic. Oh I must get something in my own studio.

I am wanting to write articles and podcast interview about several topics concerning 3d printing and art and technology. Please contact me at bridgette@creativesculpture.com if you have suggestions.

The podcasts, articles and other information will be collected and distributed from a new website that will be going live no later than May 2010. It will be located at digitalsculpture.net.

I have also pitched another book to my publisher about art and technology ( 3d physical artwork such as sculpture etc). I am looking for artists to include in this book as well as those doing research and service bureaus.

I’m A Genius! 3D Printing Of The Human Organs?

I’m a genius, or maybe my brain just thinks such radical thoughts that now and again I think like a genius. For those of you who don’t know, my graduate study at Goddard College consists of research that bridges the gap between the traditional studio and new technology. For a sculptor, such as myself, this technology is based on something that I call tradigi sculpting which utilizes both traditional and digital means to create artwork. My research is evaluating digital milling. Digital milling is taking my artwork, scanning it and then enlarging or reducing it to be milled out in foam, wood or stone. Digital printing is another resource and a technology that is quickly growing and changing. It is when a computer and a digital printing machine slowly prints, layer by layer, in 3d. What you end up with is a physical object. Yes, I know it sounds like the replicating machines on Star Trek, but this is not science fiction.

Recently I uncovered the work of both Sebastien Dion from the Center for Applied Technology at Bowling Green University in Ohio and Solheim Rapid Manufacturing Laboratory at the University of Washington in Seattle. Both have been researching and printing in ceramic. Solheim has even printed their ceramic “recipe” in the Ceramic Arts Daily, February 1, 2009, article “The Printed Pot.”

As my research continues, I thought, “It appears that 3D digital printing is all about having the right “recipe”. It is just coming up with the correct binder and the correct material to fuse.” This is where my brain started to go into genius mode and my research landed on what I’m about to share. I know that Science is using 3D printing to help them visualize scientific data. For example space physics simulations or molecular models that help scientists visualize proteins. This allows scientists a way to examine information in a physical way that has never been available to them prior to 3D printing. 

Science is also using 3D printing to print a medical implant that fits perfectly with a patient. The reason is that it is created from MRI scan data of a patient. ) Surgeons can also use 3D printing to help them with their surgeries. By having the physical replica of a patient they can practice surgery or see complications. 3D prints are also used in education. How about printing skin in a 3D digital printer? Just think what this would mean to a burn victim. Or how about replicating a bone with 3d printing? And doing so out of bone material to replace a patient’s own shattered bone? Because our bodies are symmetrical a left arm bone could be recreated by using images of the right arm.

If all of this technology and 3D printing is not fascinating enough, I thought, “If it takes just the right binder and recipe, is it possible to print organs?” I was afraid to even say it out loud to my husband, a medical illustrator, who I knew would at least hear my crazy idea and not laugh too hard. But with further research, I turned out not to be so mad after all. Indeed 3D organ printing is happening or at least being studied. Here are some journal articles and videos to prove it. This is absolutely fascinating! Just check out the video with Dr. Gabor Forgacs, University of Missouri-Columbia. He talks about how the bio printer prints out living cell clusters drop by drop that fuse together to create tissue structures. Have a damaged organ? One day they will be able print out the organ needed and do it using your cells! Perhaps the printer will print within your own body cavity. Yes, there is still some headway to be made with this technology, but the technology is here and on it’s way. My crazy thinking is actually genius!

by Bridgette Mongeon
At and Technology Podcasts coming April/May 2010

If you would like to use this article on your website you may. Please include the authors name and URL.