Rapid Prototyping describes the harnessing of three domains of advanced digital technologies: three-dimensional data acquisition, including MRI and 3-D optical scanning; 3-D form modeling and manipulation; and the realization of sculptural form through both additive and subtractive processes, Rapid Prototyping 3-D printers and computer-controlled machining (CNC), respectively. The capabilities of these new prototyping technologies have made practical a discipline that takes advantage of the existing computing environments and builds on them to provide cutting-edge three-dimensional design capabilities.  These are indispensable tools that extend and enhance an artist's ability to visualize, create, and communicate form and extend the relationship between the human touch and concept. As this technology continues to evolve the cost of the individual units will continue to drop broadening the access further. Presently, for less than $6,000 one could purchase both a desktop 3-D scanner and a small desktop CNC mill - software included. Outside of purchasing the hardware, there are many ways to access this technology. Most sign fabricators will have the equipment to mill or machine a model. There are

The auto industry uses a clay-based system of industrial sculpting techniques for the translation of data into form. With all the available virtual platforms to critique and visualize the designs, the auto industry still finds importance in being able to touch and stand physically next to a full-size clay model. However, to aid in the development of form the industry uses a 3-D scanning process to archive their clay models. This serves a purpose similar to the back button on a web browser, allowing for previous models to be brought back and reworked. Through the use of large mobile CNC milling machines the previous or new digital models are literally carved away. The Computer-Numerically-Controlled (CNC) miller operates on an x-y-z axis and a point graph system to translate data into form.  From a studio-based perspective, the machinable-clay system offers the most flexibility. By harnessing a system based on digital information the flow of generating form can move in a back and forth, side-to-side manner.  Unlike some of the laser sintering and 3-D prototyping systems, which produce or print forms out of resin or plaster, the clay forms generated by the CNC miller retain the potential for further alteration and surface development. The emphasis on process-driven relationships reinforces the importance of touch in relation to concept. 

This interaction produces nearly endless applications for conceptualizing and fabricating form. Form in simplest terms is a tool used to fashion reality; at the same time it is a tool for recognizing reality. The recognition of form is the prerequisite for the creation of new form.  As a tool, this process will extend one’s ability to view, critique, and develop form more expressively than is presently possible from a sketch or maquette. Moreover, this approach toward the evolution of form possesses the means to record a physical object’s history of emergence. With the introduction of new technologies into a studio setting there will always be the first obvious attempts to reproduce existing objects like a tea bowl, or digitize a head or nude torso. The challenge is to move beyond the novelty and delve into the vast possibilities.

From the scanning of an object and the conversion of 3-D data into 3-D models, to the plotting of a cutting path and/or printing of a 3-D model, the new tools associated with Rapid Prototyping have developed the new mapping process. The capabilities of this technology open new ways of considering an object in terms of raw material. The technology presents a working method that analyzes the relationship between an object and the process required to generate that object. These new technologies will interject questions surrounding the ramifications of scale and authenticity, and strive to illustrate how the process of construction relates to the characteristics of form - a melding of the technological with the metaphorical. Utilizing these technologies only furthers an inquiry into our current perceptions of cultural history, and how those perceptions are formed.

To demonstrate how this process has entered our studio research, our recent experiments have been with our collaboration with the Sächsische Porzellan-Manufaktur in Dresden Germany. This summer we had the fortunate opportunity to work at the porcelain factory and experiment with a small collection of their historic molds. Like Woody Allen in Zelig or Tom Hanks in Forrest Gump this process allowed us to insert our new form into the historic context. These new prototyping techniques permitted us to interact with the classic forms from two vantage points- during the making of the porcelain objects and after the objects had been fired.

In preparation to work with the historic forms, Mike and I had been using the 3-D scanner to capture a variety of taxidermy rodents and birds of prey (insert images of the scanning process and screen shots of the models) the object is positioned on a rotating table. The table will turn in prescribe increments- 30 to 45 degrees between scans works best. The Konica Minolta has three different lenses, (telefoto, midrange and wide angle). For the best detail the telefoto lens was used, although this required scanning the objects from several different views and manually connect the composites. Too many scans can actually generate redundant information and complicate the merging process. Invariably the scanning process will not capture everything. Shinny surfaces, dark or black objects, transparent objects and as with our models hair and feathers tend to refract the laser beam and fail to capture data. To address this the objects can be coated or dusted with talcum powder or white make up.

With the scanning complete the data is merged and the digital model is then cleaned up and saved.  Now the fun begins as the model can be scaled or manipulated in either direction. The model can be exported to a 3D printer or laser sintering devise or sent to a 3D modeling software for further manipulation or combined with other digital models. With access to a 5 axis-milling machine it is even possible to have the object milled to any scale as a positive or a mold can be carved. In the case of the rat we scaled the model to the largest size possible that the Z-Corp 510 could print as one piece. We later printed a smaller version to play with scale.(insert images of the scanned and printed rats) Ironically, the Z-Corp printer generates models that are made from a plaster type material. however, the plaster prints are relatively fragile until they have been treated with a hardening solution. While the type of plaster used by the printer is not suitable for conventional ceramic molds, the positive prints do work well for generating plaster molds. (insert image of Rat cast and original and mold work). We then brought the mold of the scanned rat to the factory.

Amazingly the porcelain forms shrink at least 16% from their original mold forms. In terms of completing some of our summer experiments the objects were in need of a base or additional component. (insert image of the Mops dog) To ensure an accurate fit with another object or material the scanning process was used to acquire the necessary models. To begin the pillow form, a simple model was cast by filling a zip lock bag with fluid plaster and the Mops was nestled onto the bag while the plaster set up. Once hardened the plaster cast was scanned to capture the formed indentation. (insert images of the pillow) Scaled appropriately, the model is sent to a CNC machine, where a series of cutting paths are used to carve out a plaster mold.(insert images of the simulation) First the form is rough out to remove the majority of the stock. Smaller cutting bits are used in decreasing size to refine the surface and develop the interlocking keys. From the mold, a clay positive can be cast that will shrink to fit to the exact contour of the original porcelain.

The new tools of rapid prototyping enable fluid combinations of historic models with contemporary criticisms. As is the case of the auto industry that relies on the tangible experience, these tools do not replace the problem solving skills of hand modeling.  With any tool there will be a learning curve, however, the underlying goal is to strengthen the discipline of developing form. I am interested in using construction formats that provide a layer of meaning toward the development of form.