Electric 3D Printing by Adrian Bowyer May Take Only a Few Seconds to Build Objects https://ift.tt/2MgWT6y RepRap Ltd. user and hero of the open-source 3D printing movement Adrian Bowyer endeavors to use an electric current to create a 3D printed liquid plastic monomer that will polymerize in just a single scan—and in just a few seconds. If feasible this may be a much faster path to 3D printing objects. By combining three different innovative techniques Adrian thinks that he may be able to come up with a new innovative 3D printing method. The reverse-CT scan 3D printing technique from University of California (UC), Berkeley and Lawrence Livermore employs a printer projecting scans onto rotating photosensitive resin. The device, aptly named after the Star Trek Replicator, works through computed axial lithography (CAL).
The open-source electric 3D scanning technique for 3D reconstruction from Spectra offering a seamless technology for medical imaging via electrical conductivity, permittivity, and ‘impedance of a part of the body’ from electrode measurements—transferred via small AC currents.
Last, Bowyer uses Electropolymerisation as a coating procedure and one that is conducive for small areas, applying an electrochemical coating.
Combining these three concepts, Bowyer plans to use a bath of monomer that will polymerize with an electric current, with the system programmed ‘using the reverse of the Spectra system.’ Ultimately, the liquid monomer would be inside a cylindrical bath with an array of electrodes spanning the whole area. A controller would be used to electrify the monomer enough to solidify it and turn into what would feasibly be like a 3D print—but produced by a machine with no moving parts and created in mere seconds.
RepRap Ltd. continues to be a dynamic force in 3D printing, behind projects such as sensory wearables and more, along with other users who continue to explore conductivity within 3D printing from creating supercapacitors to smart materials and sensors, as well as items like composites and more. 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: RepRapLtd.] Please enable JavaScript to view the comments powered by Disqus.Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com July 25, 2019 at 10:38PM
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Department Store | 10 Screen Prints https://ift.tt/2yaBnYX Looking for a quirky, limited edition, handmade print to adorn your wall? Check out some of the best screen prints by independent artists on our curated marketplace, Department Store. From bold, statement-making typographical prints, to geometric shapes and golden maps, there is something suitable for any space. Tom Pigeon: Block and Ball Screen Print SetTom Pigeon is a creative studio founded by Pete and Kirsty Thomas in 2014. Today, this talented, creative pair work across a variety of design disciplines for small companies and big business designing a range of items from prints to jewellery and stationery. Block and Ball is a series of three A3 screen prints that play with the tension and balance between simple geometric forms and bold colours. This set of three prints are open edition signed A3 screen prints printed in charcoal, pale blue and tan on beautifully speckled heavyweight 200gsm Favini Corn Crush paper. They That Do: Summer SolsticeThey That Do was founded in 2013 as a project that creates work that does not sacrifice on quality or creativity. They work across a multitude of platforms from branding and interiors to publications and prints. Summer Solstice is a celebration of summer and the golden days ahead. The solstice is a biannual event marking the longest and shortest days of the year. The single colour black was screen printed onto a golden paper so that when the light hits it the artwork shines and shimmers, representing the long golden days of summer. Maze: Adventures in LightMaze is a Brighton based print shop with a focus on mid-century modern inspired works. From simplistic compositions to minimal shapes and imagery, their eye-catching prints will brighten up any wall. Adventures in Light is a limited edition screenprint with striking shapes and bold use of colour, perfect for contemporary interiors. This handmade abstract screenprint was printed on 300g Artboard in a limited edition of 20. Vanda Sim Sim: Moving Around Series IVanda Sim Sim is a Portuguese artist working mostly with printmaking, collage and drawing. Her original hand-pulled editions are created on a very limited run, often producing unique prints that cross multiple techniques like screen printing, etching and lithography. I forms part of her Moving Around Series, printed in 2017. The signed and numbered screen print was created in 6 colours using water-based inks on 100% recycled Flora Tabacco 240gr paper. Underway Studio: National TheatreThis limited edition screenprint is a collaboration by the members of Underway Studio collective for their project Printed Spaces. A homage to one of the most famous Brutalist buildings in London, this print celebrates every concrete angle of the National Theatre. This print was created using Underway Studio’s own photographs of the building. Printed Spaces is a collection of screenprints exploring the architecture of London’s cultural spaces. From galleries to music venues, many of these structures have been re-purposed over the years becoming part of the fabric that makes up the city of London. In recent times some of these spaces have come under threat from property developers and new laws. Underway Studio aims to show the importance of these venues today in adding to London’s cultural diversity and rich history. This is a five-layer screen print, printed on Southbank Smooth paper in a limited edition of 30. Print Garage: Monochromatic Meditations ivPrint Garage is run by artist and screen printer, Iain Perry who creates deeply layered, colour saturated, slow-motion screen prints. The image generation is a slow process of experimentation and trial and error; collecting imagery, developing patterns and overlaying all the different elements until new and intriguing relationships emerge. All work is printed using water-based inks on acid-free paper. This piece is hand-printed 2 colour screen print on acid-free Daler Rowney card (270gsm), printed in a limited and signed edition of 20. Mister Adam: WORD UP!Mister Adam (aka Adam Oostenbrink) is a graphic designer and printmaker exploring different graphic techniques including screenprinting, linocut, risograph and letterpress. His type-o-graphic style is unrestrained, colourful, lively and outspoken. This bold, typographical screenprint captures the essence of rap music from the 80s and ’90s. This 3 colour screen print was hand-pulled using black, neon-orange and gold ink and printed in an edition of 15. Catford Creative: London Screen PrintCatford Creative was launched in September 2016 by husband and wife team Michael & Lauren. All items are produced by themselves using local print studios. This limited edition screenprint beautifully illustrates a map of London and has been printed on 290gsm Sirio paper in a limited run of 50. Rikki Hewitt: Cascade (Red) Rikki’s practice aims to document and interpret topography and psychogeography through painting, drawing and printmaking. Graphic icons and motifs are taken from our natural and urbanised environments and reinterpreted through a combination of mark-making and collage. As a keen sketchbook-keeper, his work tends to start from travel diaries, location-based studies and photographs. This 3 colour hand-pulled screen print is signed and numbered in an edition of 15. Tim Gough: Los Angeles Typography Tim Gough lives and works in Philadelphia, USA. His work is characterised by quirky narratives designed with a playful aesthetic in the form of screen prints, Risograph and more. This 1 colour screen print was inspired by his recent trip to Los Angeles where Tim spent 3 days running around Southern California eating tacos and sightseeing. He was enamoured by the mid-century typography, Populuxe architecture, and traffic which inspired this illustrated poster of some of his favourite spots. Shop all these amazing prints below or browse our huge selection on our store.
Printing via People of Print https://ift.tt/2DhgcW7 July 25, 2019 at 12:11PM All’s Fair! https://ift.tt/2Z8nkz6 MINOT, ND — The U.S. Postal Service celebrates the fun of America’s state and county fairs with four new Forever stamps. The whimsical artwork of the stamps is meant to evoke a nostalgic feeling for America’s fairs past and present. The stamps show a traditional fair theme where communities gather to socialize and have fun. Printing via USPS News https://ift.tt/2hH9aDC July 25, 2019 at 11:27AM
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Introducing LightForce Orthodontics and Its Customized 3D Printed Bracket System https://ift.tt/32THgbk A dental resident walked into a bar full of Harvard graduate students. No, it’s not the beginning of a bad joke, but actually the genesis of venture-backed startup LightForce Orthodontics, which officially launched at this year’s American Association of Orthodontists (AAO) Annual Session. The team is making what it calls the world’s first customized 3D printed bracket system for the digital orthodontics field. The startup’s founder and CEO, Dr. Alfred Griffin, comes from a long line of dentists, and had just completed a combined dental and PhD program at the Medical University of South Carolina before moving to Boston in 2015 to attend the Harvard School of Dental Medicine for his residency. He wasn’t used to the whiteout conditions of a hard New England winter, and spent a lot of time holed up in his apartment, dreaming up the innovative bracket system. Dr. Larry Andrews and A-Company first introduced fully programmed brackets in 1970, and not a lot has changed since then.
It costs hundreds of thousands of dollars and takes anywhere from six to twelve months, using injection molding, to create molds for one standard prescription, which is about 20 brackets of different programming and shapes – not a realistic environment for patient-specific customization. So Dr. Griffin turned to 3D printing, which already has many applications in the dental and orthodontics fields, such as creating aligners, molds, implants, dentures, and even braces. Most braces are “off the rack,” and even though skilled orthodontists can make this work, Dr. Griffin knew that 3D printing, which is a good fit for custom applications, could be used to make patient-specific braces. So he created a patented system for 3D printed orthodontic treatment brackets, using material nearly identical to injection modeled ceramic brackets but that’s been formulated specifically for 3D printing.
That same snowy winter, Dr. Griffin attended a local happy hour with Harvard graduate students, and after buying a few rounds, explained his idea to the group. Engineer Kelsey Peterson-Fafara immediately recognized the potential, and would soon be employee #1. Not long after LightForce, originally titled Signature Orthodontics, was accepted into the Harvard Innovation Lab accelerator, Dr. Griffin met orthodontist Dr. Lou Shuman, who had been an important member of the executive team for another dental company using 3D printing: Invisalign. He soon asked Dr. Shuman to be the company’s co-founder, and help reach out to the venture capital community. LightForce Orthodontics was one of 128 applicants chosen to join the MassChallenge Accelerator program in 2016, and became entrepreneurs-in-residence at the MassChallenge facility, later receiving $50,000 in equity-free financing as one of the 15 winners. The next step was locking down venture capital, but Dr. Griffin didn’t want to work with just anyone – he was looking to change how orthodontics works at a fundamental level, not just for a cash grab. The company’s first major funding came from AM Ventures (AMV), which is dedicated to investing in 3D printing.
Speaking of expertise, AMV introduced Dr. Griffin and Dr. Shuman to EOS founder and industry pioneer Hans Langer, who believes that LightForce has achieved the two most important components in the future of 3D printing: creating high value customization, and having a market that’s large enough to support it. LightForce continued to grow, staying on as Alumni in Residence at MassChallenge through 2017, hiring expert dental software developers, finalizing the bracket design, and receiving FDA clearance for the system. The startup closed its Series A funding round last summer, enjoyed a successful debut at the 2019 AAO Annual Session, and has multiple patients in treatment who wanted to be the first to sport customized, 3D printed braces. The brackets can be perfectly contoured to any tooth morphology. The initial system was made to compete with metal brackets, and LightForce is now working on higher-aesthetic options and looking at different materials, as well as perfecting its service and supply chain logistics. It’s a simple three-step digital workflow: scan, create the 3D model, and print. The online interface is intuitive, with cloud-based treatment planning software that allows users to make adjustments directly on the model, before the custom 3D printed appliance is shipped in just 7-10 business days after approval. In order to keep up with a changing industry, LightForce’s treatment planning system will keep evolving as necessary. Aligners are becoming more capable, but many orthodontists still use braces for their patients, which is why LightForce is looking at the larger marketplace.
As direct-to-consumer companies gain popularity, Dr. Griffin wants the startup to acknowledge the expertise of the orthodontic community, and help the field, not just take it over. VIDEO Discuss this and other 3D printing topics at 3DPrintBoard.com or share your thoughts below. Please enable JavaScript to view the comments powered by Disqus.Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com July 25, 2019 at 08:54AM
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POP Member Showcase: 8 Letterpress Artists https://ift.tt/2OiqLSO Once again, we are very excited to introduce a selection of projects by our Official People of Print members. This month we are showcasing those who work with letterpress printing. From exclusive letterpress studios, to unique collaborations and meaningful campaigns, our members exhibit a wide plethora of innovate projects reinventing and bringing this traditional printing technique into the modern age. Neu Haus Press: Alpha-BloxIn 1944, American Type Founders (ATF) introduced Alpha-Blox, an impressive modular font system of both solid and linear shapes that could be combined to create all manner of typefaces, ornament and pattern in one or two colours. Chris Chandler of Neu Haus Press recreated and re-envisioned this rarely used font in large wood block form by printing on his Vandercook 232P. With the assistance of wheatpasting by Max Collins, they have created billboards as large as 14’ x 20’. North or Nowt: Letterpress Workers Summit 2019 For the past 7 years, each summer in the north of Milan, letterpress printers, designers and workers have gathered at the Letterpress Workers Summit. Started in 2012 by Officina Tipografica Novepunti, Letterpress Workers Summit serves as a site for collaboration, learning, sharing and discussion of global developments and methods in letterpress printing. Since 2014 the Letterpress Workers Summit has been held at Leoncavallo Social Space, serving as a base of operations during the event. Each year a growing number of letterpress printers from around the globe are invited to participate and contribute in the event, either by physically attending and participating in the summit or by submitting towards a yearly publication. This year featured printers from Italy, Spain, the Netherlands, the Americas and Japan. North or Nowt were fortunate enough to be invited to attend for a second time this year. The premise for the summit and the work created is a simple yet effective format. A theme is established to form the starting point for work created during the summit and printers are randomly placed into working groups. Each day each group conceives, designs, sets and prints a full edition of prints. This format encourages discussion, collaboration and negotiation within groups, with each attendee bringing their own skills and methodologies to the press. No two final prints turn out the same and the resulting outcome is a wildly varied array of creative responses. This years theme was ‘Identity’, and all work created was in response to this. Not only is the Letterpress Workers Summit a great meeting of minds, with skilled practitioners sharing skills and secrets, it is also a vital event for the nurturing and growth of the letterpress printer community. Long may it continue and long live letterpress. www.northornowt.com Letterpress Design: Ray Bradbury Letterpress Limited Edition PrintsAfter printing commercially for many years Letterpress Design have gone back to their roots; printing bespoke and exciting pieces for everyone to enjoy. For their most recent project they wanted their creative process to drive the use of letterpress printing beyond the boundaries of pure typography, and into a place where the words and letter forms were married with colours and textures. Rather than being a simple exposition of the text, they became a way of conveying the essence of a story being told. The team chose the work of Ray Bradbury, an iconic writer who was most well-known for his richly imagined science fiction stories. His words, succinct but perfectly chosen, wrought unforgettable tales that flowered in the reader’s imagination. From these stories they picked two short quotes to work with. Using a typeface contemporary to the time that they were written, they placed the words against backgrounds of colour and texture evoked by Bradbury’s words and themes. These textures and images were applied using photopolymer printing plates, which gave them extensive flexibility in composition and enabled them to reverse the text on their Kaleidoscope Print. Printing these images on a Farley 25 cwl flatbed proofing press they achieved this visual effect with the use of a split-fount technique, whereby multiple colours of ink are applied and blended on the ink rollers. Because of this instinctive manual process, they experimented extensively to achieve the right effect, thus every print is different. “These have been a joy to print and the results are visually striking. Those who have read the stories may be able to read more into the decisions we have made in designing these and we may continue to add to this series” concludes Lisa Paice of Letterpress Design. You can shop the prints on Department Store here. Karakter Prints: Collage vs LetterpressKarakter Prints are part of Tintenkillers who combine analogue printing techniques with collage art. Using copy machines, stamps, printing presses, graffiti art, pieces of tape and recycled posters they attend festivals and events. This poster is a cut-out of one of the projects. For this piece Bart Heesen of Karakter Prints decided to invert the process by making a printing plate from the final result. Bart experimented with cutting a raster out of a wooden plate with a laser engraving machine. The poster was printed in black on a FAG proofing press. The text was then printed in fluorescent orange using old woodtype recently obtained from an old French print shop. Danielle Wagner: My Body My ChoiceWith the constant ongoing debates over abortion, Danielle wanted to create a print in support of the pro-choice community. Through using letterpress, Danielle was able to bring her message into life; “I feel frustrated about the many male politicians consistently trying to restrict and limit women’s rights.” Letterpress allowed her creativity to speak through bold colours and letterforms. Each of the prints is 6″x9″ and printed on cardstock with a variety of background ink mixtures. They were created on a showcard tabletop press using a combination of wood and metal type. 10% of the proceeds from each print will be donated to Planned Parenthood. Studio Dotto: Tiny GuidesAn exercise in creative exploration; Dotto Tiny Guides take inspiration from the feel and mood of a place and condense it into a teeny, tiny, typographic treat. Each guide features a design on one side and four places to visit on the reverse. Dani Molyneux of Dotto explored lots of different ways to get them produced, but ultimately really wanted to use letterpress. “I’ve always loved traditional print techniques and wanted to get that beautiful little indent in the paper” states Dani. With letterpress, each colour has to be separated into plates, so she selected three Pantone colours for each guide. The joy in this is knowing that each colour will be really rich and vibrant, and it’s these colours and print technique that brings this kind of graphic imagery to life. You can shop the collection on Department Store here. The Garage Press: Curtain UpFrom clearing a corner in a garage and getting his first desktop press (a 1950’s Adana), Simon Trewin of The Garage Press now has 200 square feet of studio in Brixton, many presses including a 100 year old Arab Treadle, thousands of pieces of amazing type and hundreds of vintage illustration blocks. Simon also works with Photoshop and a few apps, with a direct line to Lyme Bay Press (another moniker of POP members Letterpress Design) if he wants to create something in digital form. With all this at his command, Simon finally had a way to unblock his creative imagination. As a deeply creative person, but suffering a creative bottleneck, Simon was thrilled to discover an art form that enabled him to unlock his artistic bent; the art of letterpress printing. He states: “my mind is constantly full of images, textures and graphic ideas that I am desperate to get onto paper… but I have a problem… it is one of not really having the artistic skills that allow me to draw or paint in a way that does justice to the creative thoughts that are swimming in and out of focus up top“. Curtain Up was created as a theatrical card suitable for sale at Pop-Up Vintage’s Fair at Wilton’s Music Hall. The card was created from a combination of photopolymer and wooden blocks and printed on 1930’s Adana Quarto 1A Hand Press. The piece was formed from selected ephemera including an old broken copy of Who’s Who In The Theatre, from which Simon removed the seating plans for various theatres. He used a group of random ornaments and wooden rulers from a drawer, and played with their arrangement in order to build a proscenium arch to frame to ephemera. A vintage image of two actors Simon found in an old volume of Theatre History was scanned and emailed to Lyme Bay Press in order to make it into a photo polymer plate. All pieces and elements were assembled in order to create the final finished piece. For Simon, the joy of letterpress is that it is “primarily about composition and architecture and precision and paper“. He has also recently been experimenting with Thermo-powders (provided by Lyme Bay Press) and is about to add hot foiling to his repertoire. @thegaragepress Letterpress de Paris: Mathieu Julien Collaboration This piece was created in collaboration with the graffiti artist and painter Mathieu Julien and printed with a 1970 Heidelberg “Windmill” platen. Mathieu imagined a composition with two colours, and generating a third tone using overlays. The piece was first printed in blue and red with violet overlays, with this second version as a new experiment with neon colours. For the team, the most challenging part was to set up both prints precisely enough to get them perfectly overlapped, but with addition of the final colours, the magic of letterpress is revealed.
You can browse all of the amazing work by our verified POP members on our membership website here. Interested in joining our community? APPLY HERE Printing via People of Print https://ift.tt/2DhgcW7 July 25, 2019 at 07:39AM Dassault Systèmes Announces Extended FDA Partnership Dassault Aviation Collaboration Earnings7/25/2019 Dassault Systèmes Announces Extended FDA Partnership, Dassault Aviation Collaboration, Earnings https://ift.tt/2YhQ6fj Dassault Systèmes makes numerous announcements this week, as they continue to lead in partnerships and projects around the world, usually connected to their proprietary 3DEXPERIENCE platform. Currently the FDA has extended their collaboration regarding development of their cardiovascular device review tool for five years. This is meant to offer a completely new process for the medical industry, accelerating diagnosis and treatment of heart disease. The second part of the collaboration is connected with the 21st Century Cures Act, with the creation of a fascinating process—again geared toward improving medical treatment—with the use of virtual patients and simulation for clinical trials.
The project is multi-faceted, also including a Living Heart simulated 3D heart model meant to function as a ‘source of digital evidence for new cardiovascular device approvals,’ including an in silico (by way of computer simulation) trial meant to decrease the need for testing on animals—or for patients to be involved in trials. Dassault Systèmes expects for this project and innovative digital process to be more efficient and less expensive. VIDEO
Dassault Aviation also continues to push their Next Generation Enterprise platform forward, with six new ‘industry solution experiences’ meant to offer better performance for businesses with streamlined performance and better savings on the bottom line. They will be focused on the following features, based on the 3DEXPERIENCE platform:
With 3DEXPERIENCE, businesses can integrate 3D design, analysis, simulation, and more in one, comprehensive digital environment. Teams can collaborate more efficiently—along with communicating with their entire global supply chain, partners, contractors, and more.
Dassault Aviation’s Falcon range of aircraft has been in demand for over 50 years, with more than 2,100 of them in service in 90 countries. In the future, these aircraft will continue to be refined for the following:
Dassault Systèmes has also released their first-half revenue statement, reporting growth in in the double digits—along with reaffirming their financial goals for 2019. These figures offer results for both the second quarter and the first half, ended June 30, 2019:
Dassault Systèmes continues to be a dynamic force also with recent collaborations, acquisitions, and a long and impressive client base continually signing on to adopt the 3DEXPERIENCE Platform. 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: Dassault Systèmes press release] Please enable JavaScript to view the comments powered by Disqus.Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com July 25, 2019 at 06:15AM ClariantPLA-HI-GF10 Now Available for Industrial 3D Printing; Increased Performance at Reduced Cost7/25/2019 Clariant PLA-HI-GF10 Now Available for Industrial 3D Printing; Increased Performance at Reduced Cost https://ift.tt/2K6HtPJ Switzerland-headquartered Clariant continues to expand its 3D printing products and solutions for customers around the world in a wide range of industries. Recently, the Clariant team developed a new product for their users who are seeking better printability and performance from their 3D printing materials. To meet manufacturers needs, Clariant has released a high impact 10% glass fiber reinforced polylactic acid (PLA) that is not only strong, stiff and durable but also works on numerous material extrusion 3D printers. Along with the new Clariant PLA-HI-GF10, Clariant also offers ESD safe filaments for sensitive electronic components. Customers have recently also tested PET-G ESD on 3D printed production tooling for high precision drive systems and sensors (in aerospace), semiconductors, powertrain and electronic components and drive components (in medical).
Clariant PLA-HI-GF10 offers the following benefits:
Clariant developed this filament due to the needs of customers looking for a tougher material that would not be difficult to use. The R&D team at Clariant tested out different material variants, with PLA and Polyethylene Terephthalate Glycol (PET-G) chosen for base polymers because they are tough, printable, and present only minimal warpage for users. Glass fiber and impact modification additives were also used to strengthen and modifty the PLA and PET-G further. The materials were tested by Clariant 3D printing engineers in Frankfurt, Germany, using Ultimaker S5 printers outfitted with fiber-capable nozzles. The team discovered that the high impact 10% glass fiber reinforced PLA is an ideal manufacturing aid material as it prints exceptionally well, is very strong, and demonstrates good stiffness, toughness as well as high impact resistance. Additive Manufacturing Consultant, Mark Burghoorn of Cards PLM, a Clariant reseller, shared some insights about the new product: What applications are you seeing for PLA-HI-GF10?
What types of customers are using 3D printing for jigs and fixtures?
Why are companies turning to 3D printing for jigs and fixtures?
Any insight into the typical cost of a 3D printed fixture instead of a traditionally manufactured one?
No matter what level of 3D printing you currently do, chances are you have become a bit of a part-time materials scientist too—and while you may have performed extensive research regarding the best filaments for fabrication on your end, many users today end up wasting time and money through trial and error. Manufacturers like Clariant, a global specialty chemicals company, have already done the hard work for you though—thanks to an experienced research and development team producing customized filament meant for high-performance production. Find out more here. [Sponsored Article] Please enable JavaScript to view the comments powered by Disqus.Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com July 25, 2019 at 03:27AM Divide By Zero Introducing New High-Speed Aion 500 MK3 Polymer 3D Printer https://ift.tt/2JZXPK0 Mumbai-based 3D printer manufacturer Divide By Zero Technologies (DBZ) is well-known for its patented Advanced Plastic Fusion Modeling (APFM) technology. Rather than adhering to a uniform material flow, the process adapts to the needs of each layer and the complexities of the design, greatly improving layer adhesion and the overall strength and accuracy of the print. The company’s industrial Aion 500 and advanced Aion 500 MK2 3D printers have already been adopted by several leading tech companies and design firms in India. Now, the award-winning startup is introducing its newest product – the Aion 500 MK3. The printer was recently unveiled at the Automotive Engineering Show in Chennai, and the company is touting its incredible speed.
Powered by the company’s AFPM process, the new Aion 500 MK3 can print what DBZ says is ten times faster than other comparable systems without losing accuracy, mechanical properties, or surface finish. The company spent years researching how to make a high throughput, high speed 3D printer that could put the ‘rapid’ back in rapid prototyping, and the Aion 500 MK3 is the result.
Because they adhere to international standards of quality, DBZ’s 3D printers are often used in its home country of India by professionals in sectors such as automotive, defense, education, and manufacturers of customized jigs and fixtures. Some 3D printing methods are not well-suited for manufacturing jigs and fixtures, due to lack of affordability, speed, and strength, but DBZ claims that its “Next-Gen Industrial Grade Workhorse” is a great solution. The company claims that its latest 3D printer is “Industry 4.0 ready,” as live imaging reduces the amount of time the user has to be physically present.
The Aion 500 MK3, weighing in at 280 kg with a 450 X 450 X 450 mm build size, features a robust, high-speed print engine with rapid acceleration on the servo gantry. It uses a special blend of polymers that can be printed faster than other conventional 3D printers. Other features include:
Take a closer look at DBZ’s new high-speed Aion 500 MK3 3D printer in the video below: VIDEO Discuss this story and other 3D printing topics at 3DPrintBoard.com or share your thoughts in the Facebook comments below. [Source/Images: Divide By Zero Technologies] Please enable JavaScript to view the comments powered by Disqus.Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com July 25, 2019 at 03:12AM Siemens Heads up IDEA: Line Integration of Additive Manufacturing Processes https://ift.tt/2LFyI2l Siemens has just announced a new three-year project called Industrial implementation of digital engineering and additive manufacturing (IDEA), as part of the “Line integration of additive manufacturing processes (LAF)” funding initiative, created by the German Ministry of Education and Research under the Photonic Research Germany Program—with grant funds of almost €14 million. While 3D printing and additive manufacturing offer a wide range of benefits to industrial companies today, and users of all types around the world, speed can still be an issue in manufacturing. IDEA was created to speed up development and production times in AM processing of metal parts by an ambitious 50 percent, complementing the ability to also produce complex geometries easily, including parts like turbine blades, transmission components, and engine parts—as well as large volumes of customized products. Fourteen partners from around the world, all engaged in business and science, will be working to further refine AM processes, including the entire process chain from 3D design and choice of materials, for:
Partners in the project include:
As IDEA progresses, the priority of the team of partners is to ‘further industrialize AM for Germany’s industrial sector.’ They plan to offer better access to hardware and software that link efficiently, as well as transforming manual process to digitized, instilling further productivity through:
Siemens is involved in many different areas of industry today, but they have established clear niche in 3D printing from a collaboration with HP to offering new software, and even getting involved with 3D printing processes in railways. 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: Siemens press release] Please enable JavaScript to view the comments powered by Disqus.Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com July 25, 2019 at 03:09AM Jewelry Manufacturing & Digital Craftsmanship https://ift.tt/2M77z7Q Casted Ring After nearly completing a full jewelry project through the assistance of 3D Printing, I had a couple of thoughts that came to my mind. These thoughts were mostly of excitement, but they were also interesting in terms of the future of jewelry and how 3D printing will affect it. I had a lot of fun going through this traditional jewelry making process. A bunch of new skills were learned, but I am now thinking about the implications of 3D Printing and automating this process. In terms of 3D Printing, the major disruption to the jewelry industry is metal printing. The ability to print a metal object is surreal and essentially would make the traditional manufacturing methods of jewelry creation obsolete. There lies a lot of inherent danger in the classical jewelry making process. Extremely hot liquid is present throughout the stages of ring creation. Various hot working stations are involved as well. Improper ventilation is also a concern within this type of working area. We would not want to have a situation that could lead to volatile oxidation reactions that could explode a working area. There are also various safety gear that one must put on in order to protect themselves in this environment. So what could be a safer process? Metal printing I believe would be phenomenal for jewelry. If metal printing develops to a higher level, it would be easy to envision 3D printed rings and necklaces. I 3D printed a ring that could be later casted. The ability for this to happen is out there, just not on a consumer level. Materialise currently has a platform for jewelry designers to upload designs that can be later metal printed. This is a valuable resource for individuals, but being able to control the supply chain is valuable for a jeweler if they wanted to do this in a local shop for example. Shapeways also has a platform that is similar in terms of a jeweler uploading their designs. The issues with current metal printing technologies is that for DMLS, for example, a part will probably not print the first time. Supports will have to be designed and the build may fail a few times for an entirely new shape. Other metal printing technologies like binder jet will have difficult to estimate shrinkage rates which would now still require trial and error approaches to many new shapes. There is also a lot of manual labor involved in metal printing. Metal printing processes also come with their own unique risks such as powder explosions and titanium powder fires. Especially now, metal 3D printing is not a panacea. I’m assuming on the whole that many of these limitations will be overcome due to the mass of companies attempting to industrialize metal printing at the moment. Meanwhile, already millions of parts are 3D printed indirectly and via casting turned into jewels worldwide. My own casting journey was far from perfect, however. It took me a good amount of time and pre-processing to get my initial design done. This was definitely a good learning experience, however I should not do this to myself again. Learning how to design 3D models for jewelry is important now for me. It literally takes away so much existential grief when I am not sanding away wax for hours. There is a new existential grief that comes from creating geometries of products and hoping they do not fail in terms of prints, but I digress. It is very important the notion of time and lack of frustration. I myself have realized through making and various projects that I can deeply get engrossed in a project and lose track of time. However, if one wants to repeat their processes, it is not beneficial to have one off projects that require such focus on a consistent basis. The ability to replicate easily is the essence of scaling up one’s operations. I would love to manufacture a ton of my rings, but if the way I did this project initially was my only way to do so, I would be in pain for the foreseeable future. The mindset now turns into one that may be killing craftsmanship. I think that making things by hand will be slowly outdated in the future. There is a craftsmanship that is now emerging through the digital realm. Being able to model in 3D is essential for that future. There are only a few people currently who are showcasing these skills in terms of design. I am now more invested in becoming a product designer from just this brief exercise and project. The ability to see one’s work in the physical realm is still valuable though. I would say that this element may be lost if we focus too much on the newer age technology and product creation through digital fabrication. There are indeed better results in terms of creating a product on a digital platform through the safety concerns previously mentioned. However, an element of visualizing within the physical realm is important. Prototyping designs and printing them in PLA before a metal print would be an efficient way to deal with this issue and would allow one to waste less metal material. Overall these are some of the basic ideas and thoughts I had been grappling with after creating a ring with the help of 3D printing. It has been a great process and I have learned a lot, and it has naturally made me a bit curious about other things within the field of jewelry manufacturing itself. Please enable JavaScript to view the comments powered by Disqus.Printing via 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing https://3dprint.com July 25, 2019 at 03:06AM |
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