Tessenderlo Group Releases First Gelatin Bioink in Claro Series http://bit.ly/2YVetQO An inclusive team of scientists at Tessenderlo Group, headquartered in Belgium, has announced a recent breakthrough in bioprinting with the creation of new gelatin materials for tissue engineering. Today, they announce the release of their first bio-ink to take its place in the Claro™ series of tissue-engineering products. ClaroBGI600 has been created by Tessenderlo to combine gelatin and flow, at previously unheard-of levels. As a progressive new bioink, ClaroBGI600 offers the following features:
With headquarters around the globe, Tessenderlo Group employs around 4,600 people, with revenues of $1.6 billion last year. Tessenderlo is a leading industrial company known for their emphasis on progressive agricultural processes and solutions:
Meet with Tessenderlo Group scientists to find out more about Claro when they are exhibiting at the Biofabrication & Biomanufacturing Europe 2019 event in Rotterdam, The Netherlands, from June 20-21. Contact the company at flow@claro.science if you would like to set up an appointment to meet with their team. Are you interested in ordering a sample of ClaroBGI600? Find out more here. There is so much to get excited about in the world of 3D printing as we learn about innovations rocking industry and changing the world. And while much of the thriving 3D printing marketplace revolves around countless choices in shiny new hardware, the realm of materials is vast too—whether you are a user exploring polymers like ABS or PLA, an industrialist branching out with materials like concrete or metal, or a scientist customizing your own tools and composite materials in the lab. Bioprinting has taken off though, evidenced by the massive progress in tissue engineering and the ongoing supply of new bioinks allowing researchers to fabricate implants and more with cell-laden materials. What do you think of this news? Let us know your thoughts! Join the discussion of this and other 3D printing topics at 3DPrintBoard.com. VIDEO [Source / Images: Tessenderlo Group] Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com May 29, 2019 at 01:33AM
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How 3D Printing Challenges Traditional Manufacturing http://bit.ly/2VZGgxm 3D printing has had a major impact on the world of manufacturing. This article looks at how weakness in traditional manufacturing have given additive manufacturing an opportunity to expand. How does traditional manufacturing work? The traditional process: From designer to manufacturer How do you turn an idea into reality? For many decades, it has been the same old story. An engineer designs a part and decides on its shape, material and other factors. A rudimentary prototype may be fabricated. But when it comes to manufacturing the part for its end use, the engineer has to find a manufacturer capable of making the part to a professional standard and at scale. Parts can be designed anywhere, but factories full of machines are needed to make them. Depending on the part being made, manufacturers may use any number of manufacturing processes to make it. They may use machining, in which a block of metal is cut down to a desired size and shape; they may bend and stamp sheets of metal into a new form; they may use casts or tooling to make large quantities of parts from a liquid plastic. Traditional manufacturing processes like these are incredibly useful, and will continue to be used for many years. However, they also have their drawbacks. Weaknesses of traditional manufacturing
One of the most common groups of traditional manufacturing technologies is subtractive manufacturing. This term is used to describe processes that take a formless block of material and reduce it down to the desired shape by cutting it. The most common form of subtractive manufacturing is CNC machining. But while subtractive manufacturing is great for working with high-quality materials, it is not always efficient. That’s because making a part with a subtractive process necessarily requires excess material: the starting block or “workpiece” must be larger than the final part, since the tools will ultimately cut it down to size. Everything cut off becomes waste. Additionally, traditional manufacturing processes often require extra pieces of equipment. Casting processes require things like tooling and molds, which take time and money to fabricate but which are eventually discarded when the job is completed or their lifespan reached. Finally, there’s the small matter of actually installing and operating these traditional manufacturing systems. Traditional machines often occupy a large footprint, which creates a need for big factory spaces that cost significant money to rent or buy. And while some processes (CNC machining, for example) are controlled by a computer, many require manual operation from a skilled machinist. All of these issues prevent businesses from accessing traditional manufacturing. How and why did 3D printing appear? A radically different approach During the 1980s, something happened that would change manufacturing forever. Chuck Hull, an engineer and physicist from Colorado, invented a system for turning photosensitive resins into solid shapes using a laser. The key element of his system? A moving platform that enabled the resin to be solidified in “layers,” allowing the creation of 3D shapes made up of individual 2D slices. He called his system “Stereolithography” and went on to establish 3D Systems, a world-leading 3D printing company. Although Hull created Stereolithography while working in the very specific area of tabletop coatings, he soon realized the enormous potential of his creation. With different materials, the process could be adapted for all sorts of applications. Not long after, different layer-by-layer processes like Selective Laser Sintering and Fused Deposition Modeling began to appear, vastly broadening the scope of what would later be known as “3D printing.” Further developments Additive manufacturing technologies were developed and adapted over two decades, but it wasn’t until the late 2000s that 3D printing became widely known across the world. This was largely thanks to the development of entry-level machines marketed at consumers. With these machines costing just a few thousand dollars, a much larger demographic gained access to the technology, leading to a more eclectic use of 3D printing. One of the biggest advantages of 3D printers at the time? They could be set up almost anywhere and were relatively easy to operate, allowing small businesses to start printing products without finding a dedicated manufacturer to assist them. Meanwhile, large-scale manufacturers started widely implementing high-end printers, using them to create prototypes and specialist parts. How has 3D printing impacted the world today? Diverse applications Although Stereolithography is still widely used, 3D printing now encompasses a much wider array of technologies that can be used to print plastics, metals and other materials. The sheer scope of technologies and price points means that 3D printing is now used in a diverse range of industries, including automotive, aerospace, healthcare, consumer goods, design and fashion. Learn more 3D printing details here. How 3D printing has changed manufacturing 3D printing has affected the manufacturing world in many ways. From an engineering perspective, for example, it has provided a completely new way to build physical objects: the layer-by-layer, bottom-up approach allows 3D printers to create parts with unique geometries and complex internal structures. Certain machines allow combinations of materials to be printed at once, and the “additive” nature of the process addresses the waste problem associated with subtractive manufacturing. But perhaps the biggest impact of 3D printing on manufacturing is the way it has torn down barriers to entry. Many 3D printers take up little space, require no further equipment and operate almost autonomously. In this way, they have effectively democratized the manufacturing processes, allowing anyone to start fabricating parts without major investment or machining skill. Traditional manufacturing processes are unlikely to disappear any time soon, but 3D printing has created a whole new manufacturing mindset. RapidDirect is a provider of on-demand production services including 3D printing, CNC machining, injection molding and sheet metal fabrication. The company carries out production at its 20,000-square-foot facility using 500 CNC machines operated by over 150 professional engineers. Moreover, it has the largest manufacturer network in China. RapidDirect help product designers and engineers turn designs into reality. Get your project started today! Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com May 29, 2019 at 12:33AM South African Surgeons Perform A Successful Middle Ear Transplant Using 3D Printing Technology5/28/2019
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South African Surgeons Perform A Successful Middle Ear Transplant Using 3D Printing Technology http://bit.ly/2YWtj9p Mashudu Tshifularo, a South African doctor, and his medical team became the first in the world to claim to cure a 35-year-old patient’s deafness by using 3D printing technology. Tshifularo, who is also a professor at the University of Pretoria Faculty of Health Sciences, was able to replace the damaged bones of the patient’s ear by recreating the anvil, hammer, stirrup, and ossicles, which make up the inner ear, with similarly-shaped titanium pieces produced on a 3D printer. The University of Pretoria believes that the procedure “may be the answer to conductive hearing loss, a middle ear problem caused by congenital birth defects, infection, trauma or metabolic diseases.” Image via @GauntegGov on Twitter The groundbreaking surgery was performed at Steve Biko Academic Hospital where the patient, who had lost his hearing due to a car accident, unfortunately, damaged the inside of his ear. However, thanks to the surgeons, the surgery that took less than two hours, and the team purports to have restored his hearing successfully. “By replacing only the ossicles that aren’t functioning properly, the procedure carries significantly less risk than known prostheses and their associated surgical procedures. We will use titanium for this procedure, which is biocompatible. We use an endoscope to do the replacement, so the transplant is expected to be quick, with minimal scarring,” Tshifularo explained. Image via @GauntegHealth on Twitter Tshifularo believes that this innovative technique will be the answer to all of those patients suffering from hearing loss regardless of their age. “The patients will get their hearing back immediately but since they will be wrapped in bandages, only after two weeks, when they are removed, will they be able to tell the difference,” Tshifularo added. According to the South African Hearing Institute, hearing naturally declines from age 30 or 40. Hearing loss could be attributed to many factors: ageing, diseases, infections, or one can inherit the condition or can ruin their hearing after physical damage to the ears or head. The University of Pretoria and Tshifularo are looking for partners and funding to standardize the procedure of 3D printed middle ear transplants. As Tshifularo said: “3D technology is allowing us to do things we never thought we could, but I need sponsors and funding for this invention to take off the ground.” Tshifularo grew up as a herdsman in the village of Mbahela outside Thohoyandou, in Venda, and have faced many financial challenges in furthering his education, but that didn’t stop him from reaching his dream. Although he has been spending the last ten years studying conductive hearing loss and he is now busy with his second PhD degree at the University of Pretoria, in the last two years he started looking into the use of 3D printing technology. Tshifularo passed all his degrees within five years because, as he stated, he was focused. “People like me never arrive. After climbing one mountain we want to climb another one. If I was easily satisfied I would have never achieved all the breakthroughs in my life,” Tshifularo added. A similar groundbreaking procedure was performed in 1967 when South Africa claimed to be the first to perform a heart transplant thanks to Dr. Christiaan Barnard. Today, they are the first to perform an ear transplant by using 3D technology thanks to Professor Mashudu Tshifularo. 3D printers have proved to be extremely useful and needed in the medical industry. In Australia, for example, a 3D bioprinter called 3D Alek was developed to create replicas of the human ear for reconstructive surgery, especially for patients who suffer microtia. On the other side of the world, in the United States, a company named Organovo has been using their NovoGen Bioprinter to develop liver tissues to delay or reduce the need for a transplant. Organovo’s goal is to be able to build living human tissues that are proven to function like native tissues, “with reproducible 3D tissues that accurately represent human biology.”
Sources: News Max, The Epoch Times, Sowetan Live, Cape Town Etc. Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com May 28, 2019 at 11:18PM
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Arris Composites: Closes $10 Million Series A Funding Round, NEA Leads http://bit.ly/2Xekd7A Arris Composites, headquartered in Berkeley, California, announced today that they have closed $10 million in Series A funding. With the mission to ‘unlock the world’s highest-performance composites for the masses,’ they have now also unlocked more capital, with funding led by NEA. Most likely, they will continue the stealth development for which they have become known. Over the past two years, Arris has been working in numerous industries embracing both 3D printing and traditional methods of manufacturing; for instance, they are heavily involved in innovating for automotive applications—an industry that has quietly been using 3D printing and additive manufacturing processes for decades. The same goes for aerospace leaders, another industry where Arris has a hand in developing composite materials, with their technology responsible for economical resins and glass fibers currently being used, along with consumer applications too. Furthering their hold on 3D printing composites, Arris discloses that their team (involved in both AM and conventional production) has indeed created a new process for high-speed manufacturing, resulting in ‘precisely aligned composites,’ but they are not forthcoming with any other details other than to explain that these new parts will be able to ‘outperform’ 3D printing in metal and other aerospace components made from current composites. This will apply to not only structural properties and ‘minimum feature size,’ but also affordability in production.
While 3D printing is a technology rooted in engineering and prototyping, the infinite opportunities for innovation inspire creativity in users around the world in nearly every field. With open-source designs available, and open-source hardware and software also made accessible to users, objects and processes can be perfected as well. The same concept translates to materials. There are many incredible polymers, metals, and alternatives available today, but as advanced users find them lacking, composites are constantly being created too, making for more complex 3D printed, 4D printed, and bioprinted creations that can be made with improved mechanical properties, greater strength overall, and lighter weight. What do you think of this latest 3D printing news? Let us know your thoughts! Join the discussion of this and other 3D printing topics at 3DPrintBoard.com. [Source: Arris Composites] Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com May 28, 2019 at 11:12PM
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People of Print Member Showcase: Screen Print http://bit.ly/2KicFNN This month we would love to introduce some of our verified People of Print members who have creatively used Screen Printing to bring a range of projects to life. From prints of Mr Blobby, to an innovative film installation; our member’s exhibit a unique and experimental approach to the technique. Vanda Sim Sim: Spacial Memory SeriesSpacial Memory Series is a group of works (2017-2018) by Vanda Sim Sim which explores the fusion between printmaking techniques including relief, etching, and primarily, screen printing. Her interest in this mix became more profound as Vanda noticed the influence between the background layers and the top screen printed layers, which resulted in a complex print full of textures and subtle volumes. All of the works are unique proofs on 70x50cm Fabrianno Rosaspina Paper, 285gr. www.vandasimsim.carbonmade.com Katherine Plumb: Flora SeriesKatherine fell in love with screen printing whilst studying textile design at uni. She produces most of her artworks for the screen with hand-cut paper, and had previously never considered producing in another way. However, since opening a print studio in Stockholm and running workshops for the public (where she uses stencils), she has been learnt to print in a completely different way. After making some example stencils for one workshop, Katherine fell in love with a little flower silhouette, which sparked the ‘Flora’ print series. “My favourite thing about this project is that each day I print is like a chapter in the series, using the inverse paper from one stencil to create another print, resulting in a cohesive collection without a great deal of consideration.” Robert Howsare: IV PhasesRobert Howsare has used Screen Printing in a truly innovative way in one of his latest projects; ‘IV Phases’. The project explores chance operations and interventions upon film through the use of multiple projectors and film loops. When played through optical sound projectors, the screen printed mark on the 16mm film creates it’s own soundtrack, determined by the pattern and opacity of the ink. ‘IV Phases’ presents the seemingly infinite possibilities that are capable from a finite system, as film loops of varying lengths are continually falling in and out of sync creating continuously shifting imagery. When viewed from the back, the two-way mirror acts as a screen for the layered projection, while simultaneously becoming a projector/reflector that deconstructs the layers upon the opposite wall. The apparatus is now implicated in it’s own projection creating a volley between material and process. The projection allows an opportunity for further possibilities of chance operation through audience interaction. Kath Bell: Open Screen PrintingFor Kath Bell, the planning of a print is often a great way to focus. However, her project ‘Open Screenprinting’ has allowed total freedom of creativity. Without an exact image in mind, Kath was free to move inks around the canvas of an open screen in a very painterly way. Intuitively, she swept, dripped and painted inks onto the open screen, moving and blending them. When creating the piece Kath had to be quick in order to prevent the inks drying and blocking the screen, which in turn encouraged spontaneity. For Kath, the wonderful surprise at the end of production was pulling the print with a layer of medium. The inks blended in a beautiful way, creating a one off monoprint. Eimearjean McCormack: Silkscreen ExperimentsCombining traditional and digital processes is central to Eimearjean’s practice because it allows her to work intuitively. Using found photographs, negatives, slides and drawing fluid as her starting point, she creates high-resolution large format film positives through scanning, collage and digital manipulation. The final outcome consists of seven individually screen printed layers using a gradation of blue tones printed on 300g Somerset paper. In order to achieve an intense cyan hue, Eimearjean carried out numerous UV exposure tests and documented in detail the colour variation as each layer was applied. Lastly, the complete image was silkscreen printed with a layer of semi matte varnish. Alongside her practice, Eimearjean has focused on creating artist’s books, zines and one off publications using a combination of silkscreen and riso. She is particularly interested in how this medium has positioned itself at the intersection of literature, visual art, photography and graphic design, permitting artists like herself to easily extend beyond the studio or gallery. Emma Reynolds: Under the Same SkyEmma Reynold’s is a Fine Art Screen Printer who uses the medium much like a painter would use paints, as her work only exists in a screen printed format. Emma has been a full time artist for the past 4 years. Her latest project is taking her to the Gallery of Contemporary Art in Alaska. Emma was invited to show some work and saw it as a fantastic opportunity to work on new pieces focused on her latest obsession; printing skies. The exhibition ‘Under the Same Sky’ will see Emma create a whole new set of editions all referencing skies that she has been gathering at home and on her travels. Emma loves the unifying nature of skies and sees them as an ever changing spectacle free for us all to enjoy. The project is still in its infancy, but Emma aims to have a number of quick studies printed with minimal layers, alongside some more ambitious large scale prints, with no limit on layers, and some more experimental monoprints. North or Nowt: Incoherent Blobbying‘Incoherent Blobbying’ is a body of works focusing on the walking nightmare; Mr. Blobby. The series focuses on different interpretations of the pink and yellow monstrosity using screen print in a variety of approaches in order to distort and manipulate. A selection of these large scale prints will be on show as part of ‘Incoherent Blobby – A North or Nowt exhibition’ at Artlink Hull from Mid-June 2019 – August 2019. Miniprint Seoul: Art Worth Reading!Miniprint Seoul’s co-director Samantha Blumenfeld is working on a new body of work that turns narrative into visual. Titled ’20 Dreams’ the work is a series of 20 short stories that were directly inspired by prophetic dreams experienced by the artist. To turn this into a collection of art, Samantha is producing a print suite of large scale screen prints that explore visual suggestion and the creation of atmosphere in a story. She will also create an extremely limited edition of books, with each text page screen printed in three colour layers. The book is in its final pages, where it will then be hand-bound within a screen printed cover, and a collection of excerpts will be utilised in the print suite. KC Ford: AdaptingAfter finishing university, lack of a print room and it’s resources are often difficult for a screen-printer. KC’s ‘Adapting’ is a small on going project that enables her to keep practising her screen printing skills, and adapt to limited printing techniques when she has previously conducted bigger scale and CMYK print projects. Using an A3 screen and reusable waterproof templates, KC will keep developing and experimenting her skill sets, taking template printing as far as it can possibly go until she is able to work in a bigger dedicated printing space. Adriano Fidalgo: Lost in London‘Lost in London’ is Adriano’s first self publication featuring 16 pieces in one limited edition screen printed artist booklet. Exploring different techniques such as acetone transfer, collage, painting and drawing, each page tells a story of a moment Adriano has experienced since moving to London 5 years ago. In this curious, humorous and political visual world, his work balances duality of meaning, and explores issues from the point of view of a new Londoner. Saki Matsumoto: Another ViewGraphic Designer and illustrator Saki Matsumoto has created a series of screen prints from her sketches. This piece is inspired by the forest entrance to the Meiji shrine in Tokyo. It features Super black ink with an over coat gloss and pearl abstract shape layer in order to create a 3D feeling. Hamelaha: THALES New Screen printsAlongside the studio daily projects, courses, and workshops, Hamelaha have kept a strong relationship with both local and international artists by bringing life to new art prints. They host approximately five artists per year for a residency period which ends with new limited screen printed editions. Their latest collaboration was with the artist and designer THALES. His works are influenced by pop culture and take form as prints, paintings, street art, and even skateboards. “…My artistic universe comes down to one dude with a tower head who takes many forms. Very pop culture influenced and very optimistic (when I’m not trying to kill him with wrecking balls and whatnot)..” They came to meet each other after a linocut class THALES participated in at Hamelaha studio. As THALES works are graphic and very colourful they suited the screen printing technique in a perfect way. Most prints are 5-7 colours, on a 300 gr fine ivory paper. All of the prints are hand-pulled using water-based opaque inks. Toucan Tango: Gigs & GraphicsOrganised by Toucan Tango with help from Baltic Creative and Papermoon; Gigs & Graphics celebrates visualising music, displaying work from international artists who work alongside musicians. Mainly centred around the art of the gig poster and quality print making, the show features a mix of photography and film making. The exhibition featured over 30 gig poster artists at Liverpool Sound City. Toucan Tango’s next stop will be at Deer Shed Festival on 26-28 July, where they will be exhibiting new and existing work from a selection of gig poster artists that will also be available for sale over the weekend. They will also be printing posters for the festival over the weekend, with the opportunity for attendants to get hands-on with the screen printing technique. Toucan Tango would love to thank their sponsors: Awesome Merch and GF Smith. www.gigsandgraphics.com Rebecca JK: 20 / 20 print project20 / 20 print project is the most recent screen printing project of Rebecca JK. The project sees her hand print a limited edition of 20 prints every 20 days. The project has been printed on GF smith colorplan paper, with a single theme of bright colour. The prints are available to purchase online through Rebecca’s website, where you can also sign up to her newsletter to be updated with each edition as they become available, as well as finding out about the process behind them.
You can view all of our verified members here. Interested in learning more about becoming a People of Print member and being featured in exclusive articles? APPLY HERE. Printing via People of Print http://bit.ly/2DhgcW7 May 28, 2019 at 12:13PM
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Learn 3D Print Modeling Tools and How to Use Coding for 3D Print Design http://bit.ly/2Ws6XPI
Learn tactical design skills from three 3D print design experts, a designer, a mathematician, and a business owner, in Advanced Design for 3D Printing on June 18. In the first session of our live online event, you’ll hear from Alena Berezina, chief designer of SelfCAD, a fully-featured browser-based 3D modeling and slicing software. During this session, the audience will be able to choose a model they want to see designed and Alena will show you how to create it from scratch with basic shapes, 3D sketching, FreeHand drawing, shape generator, and other features of SelfCAD. You will learn how to create and modify advanced designs for 3D printing quickly and effortlessly. Here are some potential objects that you could choose from:
By popular demand, we’ve invited Dr. Laura Taalman (aka mathgrrl) back to speak in our second lives session of our Advanced course. Dr. Taalman, a professor of Mathematics at James Madison University, will speak about how to use coding language and generative design for 3D printing. She’ll also show you the latest tools and how they are impacting the future of design. By the end the week-long workshop, you’ll create your design and be able to submit it into our design contest. The winning design will be selected by a few judges from our team and our partners at CoKreate — and then printed and shipped by CoKreaate. At the end of the live session on June 18, we’ll have Will Co, co-founder of CoKreaate on camera to answer any burning questions you may have about the contest. We’ll be asking him some questions about the materials he’ll print the winning design with and his experience running a 3D printer business. >> Register now for Advanced Design for 3D Printing Need some fundamentals before you take this Advanced classed? Join our Beginners class on June 11. Following our Advanced class, you’ll get to apply your design skills in our Essentials of 3D Printing with Metal. Join us on June 25 for this interactive one-week course. Bundle the courses for discounts and completely immerse yourself into the 3D print world. Take one, two, or all three courses and get applicable 3D printing skills for your upcoming ventures. Thank you to our Beginner Design for 3D Printing and Advanced Design for 3D Printing sponsor, SelfCAD, for the support.
*The winning design may have to be modified based on the expertise of the designers at CoKreeate. The designers will work with the winner to perfect the design under CoKreeate’s guidelines. General sizing guidelines: Sandstone: 7x7x7 inches, FDM: 8x10x8 inches, and Resin: 7x7x7 inches.
Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com May 28, 2019 at 03:33AM Car Windshields to Be Ground Up for 3D Printing Materials? Polish Researchers Say Possibly5/28/2019 Car Windshields to Be Ground Up for 3D Printing Materials? Polish Researchers Say Possibly http://bit.ly/2JJBenk Researchers from Poland’s Silesian University of Technology are getting in on the recycling action via 3D printing, and the title of their recently published paper certainly grabs the attention, whether you are a tech buff or not. ‘The Use of Shredded Car Windscreen Waste as Reinforcement of Thermoplastic Composites for 3D (FDM) Printing,’ authored by Piotr Olesik, Mateusz Koziol, Daria Konik, and Jakub Jała, outlines their recent experimentation with shredded windscreen glass in FDM 3D printing. Recycling of glass laminate in the auto industry can be an expensive venture if it is required that polyvinyl butyral (PVB) be removed. Methods involving turning waste glass into ceramic pellets or using it in making silicon carbide have been investigated but also, but in the end, much of this automotive glass waste is just tossed into landfills. Because of that burden on the environment, the researchers stress the need to improve the process. Considering the amount of filament going into 3D printers today as the technology has hit the mainstream with continued, accelerated momentum, finding more recycled materials to put into the hardware makes perfect sense. And while shredded car glass may not have been on the minds of many innovators yet, the authors see this automotive material as having surprising potential for creating strong filament—despite the minimal exploration of 3D printing with glass composites so far. The same goes for filaments made from low density polyethylene (LDPE), which is a cheap plastic with high chemical resistance and flexibility. In beginning their study, the researchers were able to obtain glass powder from ground windscreen glass waste to create a composite for 3D printing filament by adding low density polyethylene (LDPE). The powder still contained the PVB (polyvinyl butyral), however, which is a necessary component to safety glass as a binding resin that adds strength but also some degree of flexibility. By keeping it in the mix they were also able to eliminate the added expense of removal. The filament for FDM printing was created through extrusion winding, and open-air cooling—resulting in 1.45±0.05 mm material, and a reduction in filament strength as the glass content increased. The researchers set to work in assessing the potential of the materials, with printing temperature ‘selected experimentally’ during multiple trials (with the best print results set at 250°C and table temperature of 90°C).
The researchers were able to solve the problem by stiffening the line between the rollers, but this required customized inserts. Overall, they noted LDPE printing as having potential in FDM 3D printing, but only at low printing speeds (with the inserts).
While much of the technology realm is wonderfully unpredictable, one thing is for certain, 3D printers around the world are getting a constant workout with an infinite supply of new materials for new ideas. Researchers in China have been inspired by origami to create 4D metamaterials, the Swiss have been experimenting with Multi-Metal Electrohydrodynamic Redox 3D Printing, and others are looking into fabrication with glass-ceramics at the nanoscale. Find out more now about the uses of recycled auto glass in 3D printing here. What do you think of this news? Let us know your thoughts! Join the discussion of this and other 3D printing topics at 3DPrintBoard.com. [Source / Images:‘ The Use of Shredded Car Windscreen Waste as Reinforcement of Thermoplastic Composites for 3D (FDM) Printing,’] Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com May 28, 2019 at 03:27AM Interview with Rodrigo Salazar Gamarra on 3D Printed Facial Prostheses http://bit.ly/2VU5bSW Every year there are more than 550,000 cases of head and neck cancer worldwide, with over 300,000 deaths each year. Even though surgery, radiation, and chemotherapy are at the heart of standard care for this disease, it’s just not enough. Most patients suffer physical pain after tumor removal surgery but are also affected psychologically as a consequence of facial disfigurement. In 2016 Carlito Conceiçao’s face became well known around the globe after he became the first ever person to receive a 3D printed face transplant made using a smartphone and a 3D printer. After losing his right eye and part of his cheek to a ravaging tumor, the native Brasilian fell into a deep depression and became a recluse until he met dental surgeon and 3D printing innovator Rodrigo Salazar Gamarra, who creates facial prostheses with low-cost 3D printers that are more cost-effective than the traditional thousand-dollar pieces.
This type of prosthesis existed but was far too expensive, so in 2014 Salazar and his team decided to replace some of the more expensive technology with low-cost and effective manufacturing solutions so that more people can benefit. The technique uses the camera of a common smartphone and free software, as a method for making digital facial impressions of patients with maxillofacial defects for the final purpose of 3D printing of facial prostheses (the more expensive software options are sold for 25,000 dollars a year). The smartphone’s integrated accelerometer and a gyroscope sensor guide the operator’s 3D position during the photo capture sequence and the photos are uploaded and then converted into a virtual model of the patient’s face (Salazar has also been working with monoscopic photogrammetry to obtain 3D models via a mobile device). Then the prototype of the patient’s face is created using low-cost printers, ranging between $700 and $3,000 (versus the industrial solutions could cost around 400,000 dollars). Finally, the prosthesis is fitted with magnets that lock onto metal screws embedded in the patient. After only four months Salazar’s patients can get their custom-made prosthesis, compared with the more traditional piece that could take up to two years to make, it is definitely a life-changing solution. In order to find more affordable ways to develop facial prostheses, Rodrigo Salazar Gamarra, a specialist in bucomaxillofacial rehabilitation and a master’s degree in dentistry from Universidade Paulista came up with a new technique for prosthetic reconstruction of the face. The procedure is being pioneered by a team of physicians in Brazil with São Paulo-based NGO Mais Identidade (known in English as Plus ID) and seeks to become a feasible low-cost alternative for clinical centers that don’t have access to high-cost technology. According to Salazar, “the face is also one’s identity, the way for other people to recognize us,” so for patients who undergo cancer-related surgery, maxillofacial prostheses are a life-altering solution, but not everyone has access to them. The Mais Identidade Foundation hopes to promote its use in both Brazil and Peru, bringing together professionals experienced in facial disfigurement. Salazar emphasized the importance of working with patients since the initial moment of cancer-detection to make sure that the rehabilitation and reconstruction process is done in a timely manner, without any delays, and “that’s where technology gets us closer to the patient and the results we are looking for.”
VIDEO The expert surgeon considers that his project would benefit a lot from the regenerative tissue research being done around the globe.
In Latin America, there are positive experiences of countries willing to adopt the technology, but according to Salazar finding the right people with the know-how to develop 3D printing is no easy task.
In 1997 the Brazilian government purchased its first 3D printer for the Renato Archer Information Technology Center (CTI), linked to the Ministry of Science, Technology, Innovations and Communications (MCTIC) of the Federal Government, and created a specialized division, the National Institute of Technology (INT), also under MCTIC, which does a lot of research using 3D printing. After 25 years of experience using AM, they have intervened in 250 hospitals and 5,500 very complex medical cases. In Peru, where Salazar is originally from, there is no Ministry of Science and Technology, like the one in Brazil, but they have recently created an entity called the CONCYTEC that provides research funds for projects involving 3D printing.
Renato Archer CTI’s 35 researchers explore 3D technology using FDM, Polyjet, SLA, SLS, DLP and SLM equipment, it comprises 12 technological divisions, including the three-dimensional technologies division (DT3D). Salazar understands that people who survive maxillofacial cancer face severe consequences, so his team consists of psychologists, speech therapists, engineers, plastic surgeons, neurosurgeons and rehabilitation specialists.
Salazar, who was also keynote speaker during the second 3D Printing Week event held during the third week of May by the Department of Industrial Engineering at the Technological Institute of Buenos Aires (ITBA), Argentina (one of the most advanced academic hubs for 3D printing in the region), hopes to institutionalize the system through Mais Identidade, setting up sustainable fundraising efforts so that more people can have access to 3D printing prostheses.
Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com May 28, 2019 at 01:30AM Experiments with Graphene-Reinforced Nanocomposites in DLP 3D Printing http://bit.ly/2Wc72Yn In ‘Fabrication of Graphene-Reinforced Nanocomposites with Improved Fracture Toughness in Net Shape for Complex 3D Structures via Digital Light Processing,’ authored by Chinese and UK authors, the question remains as to whether digital light processing can be used to create a facture toughness specimen without numerous notch preparation steps—and affordably so. DLP is a vat-polymerization-based 3D printing method popular with many researchers, and one like SLA—except that objects are created in a layering process instead of point by point. Here, the authors had a keen interest in nanocomposites, exploring the potential for improving mechanical properties in parts, despite limited use with such materials in DLP so far. Historically, this has been due to challenges presented by nanoparticles during 3D printing.
Previous researchers have encountered issues with viscosity ‘hindering printing,’ although the authors remain positive about using DLP for curing of nanofiller resins.
In the course of this research, the team developed their own resin that relies on UV curing, and includes graphene-reinforced nanocomposites (GNPs). Ultimately, they were able to complete a 3D print with a complex geometry—without using solvents. They also reported success with high resolution and reproducibility, accompanied by affordability.
Viscosity continued to be a major consideration throughout the project, and the researchers considered to notice the challenges in setting parameters, with low viscosity required for DLP printing (as well as SLA). If viscosity became too high, there was the possibility for deformation or complete failure. Along with viscosity characterization and examination, the authors were also aware of how thermomechanical properties affected the process, ‘confirming no obvious effect on the printability or the photocuring process…’ The research team noted relative ‘homogeneous nanofiller dispersion’ during the rapid curing, along with an improvement of mechanical properties with only 0.5 wt. percent, showing a 14 percent increment in flexural modulus and a 28 percent improvement in fracture toughness. Success was achieved in terms of creating numerous specimens, ‘indicating the effectiveness of using the current method to perform rapid trials on new formulations with improved fracture toughness.’
Whether you are a manufacturer, serious innovator, or a hobbyist just thinking about purchasing your first 3D printer, you may be surprised to find out how much thought goes into materials. And for those who are serious about making strong new prototypes and parts, if they don’t have what they need—let the experimenting begin! This is the case in workshops and labs around the world, whether users are busy testing out clay composites, combinations of titanium and ceramic, or even wood. Find out more about graphene nanocomposites here. [Source / Images: Fabrication of Graphene-Reinforced Nanocomposites with Improved Fracture Toughness in Net Shape for Complex 3D Structures via Digital Light Processing] Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com May 28, 2019 at 01:24AM
http://bit.ly/2W69G1Q
Industry Experts – Tom Yang of Febtop http://bit.ly/2I0IbNs Tom Yang is the founder and CEO of Febtop. Febtop has created an industrial machine called The Optimus. The Optimus is a single machine that can be a 3D printer, laser cutter or CNC. Their idea is to have one machine that could make finished products. They want to build the tool that would take a person from an idea to a prototype to a final product. Tell me about your educational background and how it has gotten you to this point?
VIDEO Why did you first start making things?
Your product seems like a revolution to maker problems. Explain why you decided to create it?
What separates the Optimus from the highest quality 3D printer, laser cutter, or CNC machine?
In terms of globalization, what are your thoughts on the maker movement?
In years to come what are your hopes for building your product further?
Lastly, what are the hopes you want to create within the maker world with your organization?
Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com May 28, 2019 at 12:43AM |
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