Education Pack
Supporting material for —
3D Printing: The Good,
The Bad and The Beautiful
28 January – 23 April 2017
1
The National Centre for Craft & Design
Navigation Wharf, Sleaford, Lincolnshire, NG34 7TW
This research pack is intended as a private resource, to be used for internal
educational purposes only. As such, the images included within this pack are
for internal use only and may not be copied, distributed or used for any other
purposes without appropriate permissions being sought. This pack was
commissioned by The National Centre for Craft & Design and was researched
and written by Emma Verity, Arts and Education Consultant. The National
Centre for Craft and Design is operated by Leisure in the Community Trust and
managed by North Kesteven District Council. NCCD is a National Portfolio
Organisation of Arts Council England.
School visits to NCCD are free.
Design by: http://du.st
Cover photo: Lynne MacLachlan
05Introduction
0710 Reasons to Visit The National
Centre for Craft & Design
09 Background to the Exhibition
12
19 Visual Learning Model:
Exploring the Exhibition
21
For all learning enquiries please contact:
[email protected]
+44 (0) 1529 308710
www.nationalcraftanddesign.org.uk
3D Printing Education Packages
Key Concepts
25 Curriculum Areas
35Appendix
The National Centre for Craft & Design | Education Pack — 3D Printing: The Good, The Bad and the Beautiful
01.
Introduction
About The National
Centre for Craft & Design
Established in 2003, The National Centre for Craft &
Design (NCCD) is the largest venue in England entirely
dedicated to the exhibition, celebration and promotion of
international and national craft and design. We aim to
stimulate greater understanding of contemporary craft
and design, providing enriching arts and cultural
experiences for everyone, through a dynamic programme
of high quality exhibitions, participation and retail.
Education at NCCD
NCCD offers students and educators the opportunity to
explore the demands of the national curriculum in a safe,
stimulating and vibrant environment enabling a multifaceted kaleidoscopic approach to learning — educating
through observing, creating, reflection and review.
Our exhibition programme lends itself perfectly to
curriculum specifications which state that students
should have the opportunity to use creativity and
imagination and to apply knowledge from other
disciplines including Mathematics, Science, Art
and Design.
This resource pack is informed by National Curriculum
requirements and Ofsted subject guidance. It is full of
ideas to inspire a creative learning experience at NCCD
and is designed to be used by teachers, educators,
curators and exhibition staff when planning a group
or independent visit.
We have also created three education packages that offer
exciting opportunities for children, young people and
teachers to work with national and international artists
through our exhibitions.
Admission to NCCD is free. All floors and spaces in the
centre are fully accessible to wheelchair users. A lunch
room can be booked, or our Riverside café can provide
healthy lunch options at an additional cost. Weather
permitting; groups also have the option to picnic on
Eastgate Green adjacent to the centre.
Our workshop has capacity for 25 people. For larger
group visits, students will be split into groups.
4
Photo: Michael Eden
The National Centre for Craft & Design | Education Pack — 3D Printing: The Good, The Bad and the Beautiful
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02.
10 Reasons to Visit
The National Centre
for Craft & Design:
1. You will be confident in your knowledge
that you are meeting the needs of the
creative child in your school.
6. You may be facilitating the next greatest
British designer, inventor, engineer, artist,
mathematician or medic.
2. By visiting your local exhibition centre
‘The National Centre for Craft & Design’,
you will be encouraging active
participation from your students whilst
fulfilling many of the requirements of
Arts Award and Artsmark.
7. You will be facilitating your students with
opportunity to view and participate with
international, national and local artists,
fulfilling many of the criteria from subject
specifications.
3. Through accessing the learning resources
provided and stimulated by the exhibition,
you will be facilitating your students’
learning progression over time,
through encouraging active learning
between lessons.
4. Active participation creates healthy,
independent learners with resilience
and pride in achievement.
5. The exhibition and related cross curricular
teaching and learning ideas available from
the centre, encourages curiosity and real
engagement with learning.
8. You will be opening your students’ eyes to
a possible career in the creative industries
— the fastest growing sector in the
economy at present.
9. You could be providing very cost effective
training for your staff to increase their skill
base and generate practical creative ideas
for classroom use.
10. As an educationalist, you may be
interested to know that Ofsted’s recent
findings indicate a significant correlation
between a school’s arts provision and their
overall grading as ‘Good’ or ‘Outstanding’.
Photo: Unfold
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03.
Background
to the Exhibition
3D Printing: The Good, The Bad and
The Beautiful is a show created in
partnership with the University of
Lincoln and NCCD’s first innovative
and tactile exhibition exploring 3D
printing technology. As the title
suggests, the show will provide an
in-depth exploration of the benefits
and negative consequences of 3D
printing. It will encourage audiences
to discover 3D technology and the
production process that opens up
new creative possibilities enabling
the maker movement.
Exhibiting Artists:
•
Michael Eden
•
Lionel T Dean
•
Danit Peleg
•
Lynne MacLachlan
•
Matthew Plummer Fernandez
•
Design studio Emerging Objects (ceramics)
•
Byron Colman
•
Crick Smith
•
Unfold (design studio)
•
Grace Du Prez
•
N-E-R-V-O-U-S System (design studio)
•
University of Lincoln Design-athon
•
Dorry Hsu
•
Bart Hess
•
Richard Arm
•
Adidas
•
Siemens
•
The Magic Candy Factory
•
Jason Wilshire-Mills
•
The Collection Museum, Lincoln
Photos: Matthew Plummer-Fernandez
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So What is 3D Printing and
How Can it Benefit Students?
This revolutionary manufacturing technology summons
objects into existence. 3D printing is also known as
additive manufacturing and is a process of rapidly
manufacturing products layer by layer. Using digital
modelling software, customisable designs for objects can
be produced by dividing the design into cross sections
and ‘printing’ the separate layers on top of each other.
Findings from DfE Pilot Study:
•
There is considerable potential for 3D printing to be
used within a range of STEM subjects. Links can be
made between mathematics, design and physics:
“With the printer carrying out the ‘production’ of
objects, more time can be spent considering the
science and mathematics involved in design.”
•
Pupils with poor concentration were able to see
tangible results more quickly and as a result, they
kept interest in the lesson. Several pupils commented
that they could make shapes and components on a
3D printer that they couldn’t make with the
technology they had in class. The ability to explore
more complex designs and ideas means pupils
remain more interested.
•
Teachers open to new ways of teaching, including
pupil-led experimentation, found a reduction in
anxiety about the volume of the curriculum to be
‘covered’. A recent review of research found that
independent learning can result in improved
academic learning and other, wider benefits.
•
The 3D printer is ideally suited to project work, where
learning arises naturally as part of an investigation or
construction project.
•
In DT it is common for pupils to be given a design
brief and be expected to make personal choices
about the design, which they then test out for
themselves. Where physics and maths teachers
engaged with use of the printers successfully, it
promoted thinking, reasoning and understanding
of their subject.
•
Design & Technology and Engineering: Older pupils
familiar with the design cycle (plan, design, make and
evaluate) are able to exploit the use of the 3D printer
to shorten the “make” phase as the printer is quicker
at producing items. This means it is possible to spend
more time on “design” and “evaluate” and to produce
better quality products.
•
With the opportunity to share ideas for using the 3D
printers with colleagues, teachers also benefited
from demonstrations of the printer set up and
software used by experienced presenters.
In a 3D printer, layers of polymer beads are printed one on
top of the other. Heat melts the polymer beads so that
they form a solid structure. A powder is used to fill spaces
where no polymer is required and is removed later.
3D printing encourages students to think about design,
prototypes and evaluation in the real world. A powerful
tool to have at a teacher’s disposal, it can help inspire
creativity with technology savvy pupils. Studies
have demonstrated that schools which embrace 3D
printing see GCSE results and option choices
dramatically increasing.
Photos: N-E-R-V-O-U-S System
10
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04.
3D Printing
Education Packages
We have created three packages to help
teachers and learners have a high quality
learning experience at NCCD.
Workshop Options:
STRATA: A Workshop in Layers
3Doodling with Grace Du Prez Join artist/curator Michael Shaw for a fun and informative
workshop, exploring how materials can be layered to
create dynamic sculptural forms that reflect the ‘layer by
layer’ nature of 3D printing. Pupils will initially create
multi-layered cut out relief-drawings, which can also
produce dynamic shadows. Fabricated sculptures will
then be built up from concentric shapes of sheet foam in
alternating colours. Modelling follows through the
lamination and manipulation of two colours of air drying
clay. The workshop concludes with an opportunity to
touch and hold some of Michael’s 3D printed sculptures
and a slide lecture exploring several fantastic layered
objects from Architecture, Art and Design.
Grace Du Prez, designer-maker and Mixed Media Textiles
graduate from The Royal College of Art (2010) has used a
3Doodler for 3 years to produce unique and innovative
objects, jewellery and millinery. In this workshop students
can learn all about creating designs using the
3D printing pens. 15 students maximum, 5yrs+
3D Printing Gallery Tour & Talk
with Jonathan Hutchinson
Choose one option:
•
Explore pattern design
•
Design your own object: a ‘vessel’,
rollercoaster, skyscraper, bridge,
board game, sunglasses, vehicle or a self-portrait
•
Suggest your own theme
16 students maximum, 12yrs +
Join the Gallery team for a tour and draw session in the
exhibition before meeting University of Lincoln graduate
and designer of the exhibit ‘Calliper Kid’, Jonathan
Hutchinson, for an inspiring and interactive talk on 3D
printing in Product Design.
£350
Gold
Choose one option:
•
£100, max 25 students. 2 hours: 1 hour tour & draw,
1 hour talk. Suitable for Primary school students.
4 hour workshop + optional Tour & Draw session led by a member
of NCCD’s artistic team.
•
£150, max 25 students. 3 hours: 2 hour tour & draw,
1 hour talk. Suitable for KS3+.
Silver
£250
2 hour workshop + optional Tour & Draw session led by a member
of NCCD’s artistic team.
Bronze
£2 per
pupil
1.5 hours session, and groups of 30 pupils maximum
Tour & Draw session with a member of NCCD’s artistic team. This is suitable
for all ages and abilities and perfect for Primary school pupils. We can also
deliver additional gallery activities at £5 per pupil.
Photos: Jonathan Hutchinson and Grace Du Prez.
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The National Centre for Craft & Design | Education Pack — 3D Printing: The Good, The Bad and the Beautiful
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Special Events for
Teachers and Higher
Education Students
Multi-Sensory Curating:
The Future of Non-permanent
Exhibitions
Tue 7 Feb, 4.30–6pm
Teachers, Academics and Educators are invited to join
the exhibition curators, Professor Anne Chick and Bryony
Windsor, for a free tour and talk of the exhibition to
explore the themes of 3D Printing and look at how you
can take these into the classroom.
Special Events for Everyone
Jewellery Making Workshop Sat 4 Mar, 1–4pm £49pp, materials and 3D printed pen provided, 14yrs+
Live 3D Printing Demonstration
Sat 8 Apr, 1–4pm
Free, everyone welcome
3D Printing Pen Millinery Workshop
Sun 9 Apr, 10am–4pm
£80pp, materials and 3D printed pen provided, 14yrs+
Free, please book
Professor Anne Chick In
Conversation with Lionel T Dean
Tue 7 Mar, 6–7.30pm
Pop in for a complimentary glass of wine and enjoy a late
night shopping evening in our craft and design shop.
Suggested donation of £5, everyone welcome
Michael Eden: The Hand and
The Glove — Gallery Tour and Q&A
3D Printing in Design:
Young People’s Workshop
Mon 10 Apr, 10am–4pm
£20pp, snacks & drinks included, materials and 3D
printed pen provided, 12–25yrs
3D MakerBot Returns
for Feb Half Term and Easter
Sat 11 Feb–Sun 19 Feb & Sat 1 Apr–Sun 16 Apr 2017
Free, everyone welcome
Mon 10 Apr, 11am–1pm
£20pp, booking essential
Photos: N-E-R-V-O-U-S System
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Artsmark
Excellent reasons to get involved at
the NCCD — we meet the criteria!
•
Artsmark helps to chart pupils’ progress in the arts
by drawing upon the Claxton, Lucas and Spencer’s
model of Creative Learning Progression (2012).
Evidence of impact can be identified via uptake of
the NCCD regular teachmeet events and training
opportunities to improve skills and knowledge for
students and teachers.
•
The Learning programmes at NCCD is written with
cross curricular learning opportunities in mind and
meets the learning objectives across the Key Stages.
•
NCCD gives the ‘wow-factor’ of art with our
stimulating opportunities available through the
vibrant education and public learning programmes.
•
The team at NCCD engages young people,
placing then at the heart of programming.
•
Talk with the learning team at NCCD to help you
create your ambition and vision for Artsmark in your
school and let us help support you on your journey.
•
NCCD is exciting, inspiring and engaging and will
help you to maximize the number of ‘ways-in’ for
learners of different abilities and learning styles.
•
NCCD provides authentic opportunities offering
real-world challenges to learners with the range
of learning opportunities available.
•
Like you, like Artsmark, NCCD strives for excellence
and innovation!
Achieve your Arts Award with the help of NCCD!
Bronze Certificate Level 1
Take Part:
Attend a workshop to create 3D sculptures using 3D pens.
Arts Review:
Attend an exhibition talk and tour or be an audience member at
Grace Du Prez’s performance and demonstration event.
Arts Inspiration:
Experience ground-breaking primary research into the work of 3D design.
Use the audio and visual guides to research the artists’ works.
Arts Skill Share:
Back at school deliver a presentation of the exhibition.
Silver Certificate Level 2
Arts Challenge:
Challenge yourself to become knowledgeable of the world of 3D Design
by visiting the exhibition or attending the workshop events.
Review:
Talk to the gallery team and record a range of views on the exhibition
Arts Research:
Observe Grace Du Prez demonstrate her skills and find out about her journey
to success; talk to the gallery team to discover the diverse routes they took
into working in the world of the arts.
Arts leadership
Back at school talk to your careers advisor, plan and organise an information
workshop to deliver to your peer group.
Gold Certificate Level 3
Arts Practice:
Extend your arts practice by gaining experience of the world of 3D design,
gain inspiration to develop something new.
The Wider Arts Sector:
Talk to NCCD about volunteering in this unique space dedicated to
contemporary innovative craft and design.
Research and Review
Choose from our programme of high quality talks to find out about artists and
their career paths.
Form a view:
Make the case for challenging an arts organisation to become more inclusive
by meeting the needs of all learners and visitors. Talk to the team about how
they are breaking the mould as a visual arts centre by adapting the
environment of the exhibition to engage the visually impaired visitor.
Project Leadership:
Back at school create an inclusive arts project which can be enjoyed by
an audience with diverse needs.
Photo: Danit Peleg
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05.
Visual Learning Model —
Exploring the Exhibition
Curriculum Content/
Key Skills
•
Via meta-learning: learners become able to reflect
on and articulate their own learning, during and
after the event.
•
Curriculum links/Key Skills: Cross-curricular literacy;
speaking and listening.
•
Observational Skills: observing, describing and
interpreting visual information.
•
Analytical Skills: experience in contemplating various
data and weighing perceptions, facts and opinions
in order to make informed judgements.
•
ALL Key Stages
•
Learners take the role of a reporter and interview the
artist/gallery assistant with key questions. Answers
can be filmed or recorded for future report writing
or notes for own design ideas.
•
Design Detectives: learners can be tasked with
individual key questions to explore. The group
come together and compare findings.
•
Deductive Reasoning: gathering clues, building
evidence and framing conclusions.
Pupils could make drawings in sketchbooks of part of
the exhibition which they are drawn to. Observe how
the learners group themselves. Groups can then talk
about and note down what they like in the exhibition.
•
•
Creative Expression: expressing objective response
to artworks, which involves reasoning, yet is
open-ended.
Encourage a range of vocabulary — nouns,
adjectives, verbs, adverbs to describe the exhibition.
KS2/3:
•
Individual and Group Communication Skills:
articulating ideas and opinions; learning to listen
and respond to others.
•
•
•
Photo: Geoffrey Mann
Suggested Activity Ideas
•
Historical Knowledge: acquisition of factual
knowledge about art; how to use art as a primary
source of information.
Look at the exhibition in terms of what it is telling us
— its content, message (i.e. what could it stand for
or symbolise), title, theme and type/genre.
•
Collaboration: shared knowledge is generated
through building of trust which comes from effective
communication and working together in a supportive
atmosphere enabling confident voices.
Consider what can be understood through looking
at the formal qualities of the work, i.e. colour,
shape, marks, surface, scale, space, materials,
process, composition.
•
Context: challenge the notion that reading a work in
terms of the artist’s biography or an assumption of
what the artist’s intentions. This is not the only way of
gaining meaning. It is relevant to look at a work in the
wider context of when and where it was made and to
consider how the present climate informs our reading
of a work. (It is also important to take into account
the gallery and the information presented within it).
•
Encourage students to look hard to form their
initial ideas.
•
Question their first responses.
•
Develop their personal interpretations with
external knowledge and contextual concepts.
Responsibility: learners are involved in the initiation,
direction, control and evaluation of their
own learning.
The National Centre for Craft & Design | Education Pack — 3D Printing: The Good, The Bad and the Beautiful
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•
Reflect on the learners’ own experiences and
articulate their concerns which surround the
exhibition in relation to their prior understanding
of design.
•
Reveal the work’s complexity and enable each learner
to have a richer experience of it.
•
Invite learners to share their reactions; encourage
learners to acknowledge and express their
felt response.
•
What is it about?
•
What can I see? ‘I can see…’ challenge the learners
to see more and more detail to develop the powers
of observation.
•
What is the work’s relationship to the wider world?
Encourage speaking the language of art; Consider
the relationship of art to the viewer; give space to
discuss response to art Q+A to artist and by artist.
•
‘I think…’ learners share their ideas about the
exhibition; expressing opinions — the why and how?
•
‘I wonder….’ The 5 w’s ,‘where…’, ‘how…’, ‘who…’,
‘why…’ ‘what?’ encourage further research.
KS4/5/Undergraduate:
•
Interpretation can be undertaken from a number of
theoretical positions rather than being determined by
the art historical canon (feminism, postcolonialism,
formalism, the political and social, semiotics
and iconography).
06.
Key Concepts
Inclusivity:
The Creation of New Forms:
The exhibition aims to explore and test how 3D printing
can be used to make an exhibition in a visual arts venue
more accessible to a visually impaired audience. Some
of the exhibits will be interactive with light and sound
and others can be touched. Lionel T Dean, the creator of Future Factories, has an aim
‘to overcome the split between the technological and the
aesthetic; between artistic creativity and machine
production — integrating beauty, technical knowledge,
and industry’.
Movement and Freedom —
Where Fine Art Meets
Technology:
Danit Peleg’s innovative design process has led her work
to be enjoyed at the Paralympic opening ceremony in Rio
in 2016. Using inspiration form Botticelli’s painting ‘The
Birth of Venus’, Peleg designed a dress using 3D printing
for double amputee and Paralympic medallist Amy Purdy.
The dance segment in the ceremony explored the
relationship between humans and technology where Amy
dances the samba with the KUKA robot. Peleg uses the 3D
process to create flexible dresses which move beautifully.
For more on the process and her very first design and
collection read the case study further on in the
learning pack.
Dean explores the possibilities for flexibility in the
manufacture of artefacts inherent in digitally driven
production techniques. His project inverts the current
processes of mass production with that of individualised
production. Random variable factors are introduced
(scale, proportion, surface texture, pattern) by the
computer which will stimulate a lack of uniformity. Each
design will be ‘maintained in a constant state of
metamorphosis’ by the computer software.
The idea is for the craftsperson to be guided by a design
intent and to achieve different aesthetics based on a
central theme.
A section of the gallery will display an installation of 3D
printed lights by Lionel T Dean. The installation will allow
visitors to experience how lighting may affect the
experience of a visually impaired visitor. Visual
impairment has many degrees, some visitors with visual
impairment may be photosensitive and will thus
experience difficulties with glare and bright light, whilst
others may require bright light to enable them to see
more clearly. The installation explores how we can be
sensitive to the light levels in a room and how we can
make adjustments as necessary depending on the visitor.
Photos: Lionel T Dean (left), Adidas (above)
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The National Centre for Craft & Design | Education Pack — 3D Printing: The Good, The Bad and the Beautiful
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Animation and Design:
Inspired by 1950’s Japanese science fiction, Dean’s ‘T-Rex
versus The Gorilla’ animation sees them fight over a
precious stone which the creatures use as a weapon in
their encounters. The creatures sit on top of the finger
with the tail of the T Rex forming the loop of the ring.
The underside of the ring carries a QR code which when
scanned, reveals the movie played back to you on your
mobile device. The set of five jewellery designs has each
ring representing a different point in a magna animation
fight sequence between the monster characters.
A traditional hand drawn animation, the clip references
manga animation, 1950’s science fiction and 8-bit video
games. The rings have been sculptured from the
appropriate frames and have been cast in silver from 3D
printed waxes with the gorilla rhodium plated to
distinguish the characters.
The film is a collaboration between Product Artist
Lionel T Dean and Digital Sculptor Philip van der Alt
from BunnyCorp.
In the exhibition, bespoke and luxury craft and design has
been inspired by various ideas from natural fractals and
patterns to technology. Dean and N-E-R-V-O-U-S System
explore lighting whilst Michael Eden brings together
traditional ceramic craft skills and digital technology
to create unique craft objects.
The Breakthrough
3D Printed Art Objects:
GCODE is the language in which people tell computerised
machine tools how to make something. GCODE Clay is a
series of objects 3D printed in various clays — porcelain,
bmix, terracotta and recycled clay. The work of the digital
designer is clearly present as such detail could not be
achieved by hand. Texture, pattern and surface make the
objects tactile as well as gathering light and shadow in a
beautiful way.
Pushing beyond the boundaries, the 3D printing process
creates new expressions in clay through a series of
controlled errors. Unlike 3D printed ceramics, where the
artefacts are defined by the striations on the surface, here
a series of controlled errors (defined by the plasticity of
the material, gravity and the machine behaviour) enable
the surface material to take on the appearance of textiles
with the clay being woven, threaded or curled as it droops
away from the surface. With patterns emerging and
disappearing in the variations of the experiments
explored, this unpredictability could be said to be the
fundamental aspiration of object making.
22
Design studio Unfold created The Peddler, a system
adopted from their previous designs for a ceramic water
filtration system for developing countries. The Peddler is
made up of a series of objects for diluting and dispersing
perfume and has led to a collaboration with the French
perfumer designer Barnabé Fillion.
“If you look at the rest of our work,”
Verbruggen says, “understanding
the process and then reinventing
the process, that’s what leads to the
development of new objects and
new forms. For us, form is always
something that should come from
process and understanding of the
process. Not the other way around.”
Dries Verbruggen, Unfold
Michael Eden questions the value of 3D printed objects
as artworks. Having previously worked in ceramics, Eden
now explores making ceramics using a 3D printer and
reveals the highly intricate and complex outcomes that
would have been impossible to achieve using
traditional methods. Conservation:
The role of 3D printing in restoration and the conservation
of the Earth’s resources, through a move from mass to
individual consumption, is explored in the work of Byron
Coleman who uses 3D printed elements to reconfigure
and restore furniture, as seen by the designs for chairs
and tables. Fractal patterns are used to construct
elaborate joinery and components creating unique pieces
of furniture design.
The team at Crick Smith have replicated historical
artefacts including ‘Terracotta Warriors’. The tactile
replicas allow access for interaction from all people
(visually impaired) as artefacts are too fragile and
precious to normally interact with.
And, Michael Eden has been inspired by ancient vases
and transformed them into modern pieces. By conserving
the historical context of ancient ceramics Eden continues
to keep it relevant.
Photo: Unfold
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07.
Curriculum
Design Technology
Suggested Activities: KS2/3/4
•
Unleash your creativity — what would you design?
Look at the exhibits where objects are added to using
3D printed elements, such as lighting.
•
Explore and consider how materials can be used
in 3D printing:
Background Information
Thanks to the ability to build a product from the bottom
up, 3D printers can print shapes that cannot be viably
manufactured any other way. For example, people with
missing limbs can have custom prosthetics 3D printed to
their personal style, shape and capability. Another
example is from Airbus, a firm using 3D printers to make
airplane parts lighter which allows the plane to use less
fuel without sacrificing strength and safety.
»»
Cheap machines for the toy market.
»»
Serving geek education and SME markets
using higher quality machines with
recyclable materials.
»»
Higher quality materials already available i.e.
titanium, steel, silver and gold plus a range of
plastics i.e nylon and photopolymer materials.
Aluminium would never be used for health
and safety reasons. Discuss the suitability of
these materials.
»»
Explore the idea of future materials with
functional applications such as 3D printed
electronics with the development of materials
with thermal and electrical conductivity.
»»
Consider how materials will continue to be
improved for durability quality of surface finish
and strength.
»»
Research Dorry Hsu’s use of a haptic arm and
computer programmes, how does this use of
technology impact her crafting of jewellery?
»»
Dorry Hsu also uses boiling water and dye to
gradually incorporate lots of different hues and
colours when developing her designs.
Experiment with how to make dyes and
methods of dying.
10 Mad Things 3D Printers Have Done:
1.
Made a lampshade created out of the path of
a moth’s flight.
2.
Made a burrito customized to the perfect ratio of
beans, guacamole and sour cream.
3. Made possibly the fastest sprint shoes ever made,
weighing just 96 grams.
4. Made a hybrid car that runs on gas and ethanol —was
given the burp-sounding name “Urbee”, made
entirely using thermoplastics.
5. Printed medication — a pharmaceutical printer allows
you to dispense your own chemicals and pills to
store them in.
6. Built a house made of plastic- maybe a future solution
to the housing crisis?
7.
Used human cells as ink- the use of bio ink in the
creation of new human organs.
8. Spun blood vessels out of sugar.
9. Duplicated a kidney reducing the risk of organ
rejection during a transplant.
10. Cloned a mummy.
Photos: Dorry Hsu
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Suggested Activities and Discussion
Points: KS4/5
•
•
Consider the critical evaluation of new and emerging
technologies, in contemporary and potential future
scenarios, from different perspectives, such as
ethics and the environment and how it informs
design decisions.
Explore how alternative processes can be used
to manufacture products to different scales
of production.
•
Understand and use specialist techniques and
processes to shape, fabricate, construct and
assemble high quality prototypes and/or products,
including techniques such as wastage/subtraction;
addition; moulding (deforming and reforming) and
combination as appropriate.
Suggested Activities and Discussion
Points: KS4/5/Undergraduate
•
•
If the user makes an aesthetic judgment on a form,
the precise configuration of which has been
generated by a piece of software, then who has
‘designed’ it?
Reflect on the design/production paradigm as the
one being put forward by ‘Future Factories’. What
complex issues does it raise about the role of the
designer?
‘Who owns the copyright? What is copyright?
The generative system? The genetic code for a final
form? The computer form? The computer image?
The artwork on a gallery wall?’
•
Students can think how 3D printing allows large
companies to respond quickly to market demands or
the latest craze. Research large toy companies such
as Makielab and Disney.
•
Using the inspiration behind Lionel T Dean’s film,
hand-draw an animation inspired by your favourite
film and artworks.
26
Re-thinking Project Briefs, Audience and
Market Research — Mass customisation or
individual production?
»»
Discuss the impact on industry, enterprise,
sustainability, people, culture, society and the
environment of new and emerging technologies,
production techniques and systems.
•
•
•
If current market research is based on a set of
common denominators, how will the current
practice of market research change?
»»
How will brand ethos change to celebrate the
user needs of individuals to communicate
individuality rather than lifestyle or brand values?
»»
Reflect on the idea of material culture:
a consideration of people and the emotional
relationship they have with objects rather than
markets per se and the choices people make
about those objects.
Further Research
•
Freedom of Creation make furniture using nylon
and carbon fibre.
•
Marianne Forrest prints watches in titanium.
•
Emerging Objects have used various clays such as
porcelain, bmix, terracotta and recycled clay to
create objects with textile-like exteriors as the clay
is woven, threaded and curled.
•
Lionel T Dean uses nylon plastic for the
lighting objects.
•
Jonathan Keep’s printed ceramics.
•
Tom Lomax plaster material printed in colour for his
printed sculpture drawings and products ranging
from letter stands, business card holders and phone
stands for Father’s day’s gifts.
•
Art
‘Shimmering in the exhibition
landscape is a network of geometric
reflec­tive pools of molten wax. Their
mirrored surface is broken by a body,
suspended from a robotic harness,
plunging into the liquid. A crust of
wax crystallises around its curves and
folds, growing architectural forms,
layer by layer, like a 3D printer drawing
directly onto the skin. Slowly the body
emerges, encased in a dripping wet
readymade prosthetic. It is a physical
glitch, a manifestation of corrupt data
in motion, a digital artefact. They hang
from hooks like a collection of strange
beasts and frozen avatars. Body prints,
imperfect and distorted and always
utterly unique.’
Suggested Activities: KS2/3/4
•
Ask pupils to look at the design inspiration pictures
and write down what they think the design has been
inspired by and why they think that. Suggest adding
colour to their design to improve the level of
communication of their designs. Annotations/label
may also be added.
Fine Art
Suggested Activities and Discussion
Points: KS3/4/5
•
•
Dorry Hsu uses clear resin and the process of
stereolithography (SLA).
•
Danit Peleg was inspired by Sandro Botticelli’s
painting ‘The Birth of Venus’ to design a dress for
Amy Purdy to wear during her dance at the
Paralympics Opening Ceremony in Rio 2016. A
double amputee, Amy is a Paralympic medallist with
the help of technology. Peleg used the diamond
shapes and the nude colouring present in the
painting as inspiration for her design. Read about the
process Peleg used to formulate her design. Which
painting would you use to design an item of clothing?
Michael Eden graduated with an MA Fine Art
(Painting) and has since delved into materials and
processes through ceramics and 3D Printing. Over
the years, Eden has also developed a keen interest in
digital technology consequently leading to an
exciting research project at the Royal College of Art
to identify ways of combining craft and digital
technology. Eden also reuses iconic and historical
objects to show how 3D printing can go beyond
conventional industrial ceramic techniques. Look at
Eden’s ‘Wedgewoodn’t Tureen’ and further research
other traditional ceramic works from the Industrial
revolution or similar periods to redesign a piece
of ceramic.
(http://barthess.nl/digitalartifacts.html)
Explore how you would use a piece from the exhibition to
inspire a piece of performance art.
•
Consider the following:
»»
Innovative work is where technology is used as a
means to an end: Karin Sanders (1997/2001)
‘People 1:10’. Discuss.
»»
Is where the process is used to the artist’s own
end overridden by the resultant product
demonstrating the inherent qualities of the
process: Rachel Whiteread’s ‘Secondhand’
(2004).
»»
Is the conceptual context of the work more
important than the traditional craft processes,
which allow the artist full control over the
process utilizing physical hands on experiences
to gauge the quality of the work?
The featured film by Bart Hess shows how he uses
performance art combined with an ‘active’ material
to construct sculptural fashion objects.
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Textiles
Background Information
The perfect fit. Having a one-of-a-kind garment tailored
just for you is the height of fashion luxury. It fits you just
right and you know that piece of clothing was made for
you alone. It can feel like it’s a part of you.
Mass customisation and the research at the London
College of Fashion: Sandy Black and her colleague
Penelope. Their research was part of a project called
‘Considerate Design’, which was all about designing
clothes in a way that paid more attention to the people
wearing them, and to the Earth. They thought that if they
could find a way to make an item of clothing more special
to the person wearing it, they would take better care of it
and wear it for longer.
Geography/
Environmentalism/
Conservation
English/PSHE/Citizenship
Suggested Activities and
Discussion Points: KS3/4
•
•
The process begins by scanning a body with a 3D
scanner. Then the body measurements and the
customer’s style preferences are translated into a 2D
computer design which can be used in an industrial
knitting machine. The machine can produce a knitted
jumper that comes out in one piece, practically ready
to wear.
»»
Considerate Design used scans to design bags for people
with back problems. After taking the scans and transferring
them to real-life plaster moulds, designers shape the
leather bags so that they conform exactly to the shape
of the wearer’s back. That way the weight of the bag is
transferred evenly to the hips and the wearer doesn’t
suffer their usual back pain.
»»
Suggested Activities and
Discussion Points: KS3/4
•
If clothing were less disposable we wouldn’t have to
buy so much of it to replace the stuff we have thrown
away. Ultimately, we would consume less.
•
If that jumper is yours, reflecting your own personal
taste and fitting your own unique dimensions to a T,
is it likely to help reduce the impact that fashion
has on the planet?
•
How our clothes can be made to fit the Earth’s
resources much more comfortably as well.
•
How are knitting patterns like computer programs?
•
How far do you agree with Peleg’s statement ‘I believe
that technology will help democratise fashion
and give designers more independence in the
creation process.’
•
28
Peleg’s theory is that everyone will be able to travel
without luggage and 3D print their clothes in the
hotel room. Design what you would print and think
about what materials you would choose.
»»
»»
3D printing means significantly less waste.
Traditional forms of machining often leave up to
90% of a slab of metal on the machine shop
floor; but additive manufacturing generates far
less waste in the first place, and also makes it
easier to reuse anything that is left over.
The machines are also the ultimate expression
of “just-in-time” manufacturing: a company can
manufacture a needed part instantly, on the
spot, rather than depend on the old system that
required parts to be manufactured in mass
quantities, stored in massive warehouses, and
shipped to far-flung locations.
Helping to further lower the resource footprint
on products, some researchers are working on
attaching recycling machines to allow
manufacturers and hobbyists to reduce their
ordering of raw injection materials which they
have to order from somewhere else. When 3D
printers are ready to saturate the home-use
market, they may provide an almost fully selfcontained system.
When 3D printed items break or need
replacement, home users could simply recycle
them into the machine and enable a cradle-tocradle system.
The primary costs are in the machine itself
and in the consumables or injection materials.
3D printers are able to manufacture items from
various plastics and metals as well as glass,
wood, food and even living cells. Most of the
cheaper machines are limited to plastic, but
many will function with more than one type
of plastic.
Dangerous objects: Weapons like knives or clubs
can be printed in any shape and practicable
material: assuming the design works, any 3D
printer that can handle metal or polymers can
privately print out the necessary part for a
functional, license-free gun. 3D printing could
make it easier to create them, and thus we’ll have
many, many more of them in circulation.
Eventually there may be an arsenal
of untraceable guns in the hands of people
who would not be able to legally buy them.
In addition, America’s gun violence will be easy
to export—right over the Internet—to other
countries which have stricter gun ownership
regulations.
»»
3D printing even has the potential to completely
undermine the war on drugs. Researchers at the
University of Glasgow have developed a system
that would print the necessary lab equipment to
create pharmaceuticals. Consider the points that
whilst this kind of technology has the potential
to democratize the pharmaceutical industry,
it might also enable people to print illegal
narcotics from home in a way that’s far safer and
less detectable a garage-based meth lab. It also
means that the drugs people buy could become
more dangerous than they are now.
»»
Consider the ethics of Bioprinting: people are
already implanting magnets in their wrists and
RFIDs in their arms so what about a second set
of eyes placed on the sides of their heads to
give them full 360-degree vision or any other
futuristic application of body parts you can think
of! Ridiculous? Yet look the dozens of women
and celebrities who are already beautiful but
who would prefer to look like mannequins with
abnormally plump lips, buttoned noses,
and shiny skin.
»»
As robotics and automation increase over the
years, consider how more people may try to
get an edge in the job market with specific
augmentations that will enable them to perform
certain unique tasks. For example, If the human
body can adjust to a third or fourth arm, data
entry professionals could become more efficient
by drinking water with their third hand while the
other two continue typing. On the other hand,
research has demonstrated that the brain is
capable of developing motor memory — any
movement which requires practice — with a
prosthetic device. The brain may indeed be
capable of adapting to a new appendage and
scientists are more concerned with enabling
those people with disabilities than augmenting
anyone without disabilities.
Suggested Activities and
Discussion Points: KS3/4/5
Discuss the environmental benefits of 3D printing
considering the following points:
»»
»»
With hi-res 3D scans giving all sorts of industries a
facelift, there are implications for entertainment,
health, fitness and apparel that can really make a
difference in how people interact with the physical
world. If most of how we will interact in a few years
will be in 3D, whether online, VR or real life, discuss
and consider the implications for the following:
»»
Open information; internet freedom and
empowerment of the individual.
»»
The issues around the survival of the associated
industries; the potential threat of counterfeit
money; the manufacture of weapons.
•
1931 Aldous Huxley wrote ‘A Brave New World’. Write
a creative piece where you predict what society will
become in light of the new technological advances.
•
The world of 3D printing is often beyond people’s
imagination and grasp of understanding. Create an
advertising campaign to promote products from your
designs and write an information leaflet which explains
the wonders of 3D printing to a general audience.
•
The Bad: what are the downsides of 3D technology?
Debate the following idea either in the spoken
or written form:
»»
John Smart points out in his ‘Fourth Law of
Technology ‘that the first generation of a
technology is often dehumanizing, but with the
case of 3D printing, is the extreme opposite
true? Explore the idea that humans will apply any
new technology to their worst impulses.
»»
The Internet liberated people to say things online
that they would not say in public. Now, all those
same people isolated in their homes can make
trouble through the creation of 3D objects any
size, shape, and colour. Consider how the Internet
has served the causes of racism, sexism, etc.
»»
Intellectual property on manufactured goods:
Paramount Studios recently sent a cease-anddesist letter to someone who posted designs for
a toy Paramount is marketing based on one of
their movies. Consider how hard it will be to stop
anyone from posting downloadable designs on
the Internet for home 3D printers to create.
»»
Financial concerns: indications that criminals are
hoping to enter the black market enabled by 3D
printing. In Texas, a small band of thieves used a
3D printer to make an ATM card scanner which
they installed in ATMs around their city. They
then stole about $400,000 before being caught.
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»»
Plagiarism: Look at exhibitor Matthew PlummerFernadez (website) portfolio and discuss the
negative consequences that 3D printing can
have on copyrights.
»»
Dorry Hsu’s avant-garde jewellery looks into the
aesthetic and attraction of fears as well as the
concept of masks. When looking at cultures
around the world, people wear masks are
different reasons such as to scare away evil
spirits. The masks are often decorated with
frightening images of what the wearer’s fear are.
Are these masks acceptable in society? Write
down your fears, think about whether they are
fictional or non-fictional? Are your fears
impacted by society issues/global issues?
»»
•
Consider what original ideas can you come up with?
•
Debate — 3D bio-printing research could eventually
lead to the printing of organs ready for implantation.
That might mean no more waiting lists for organs and
no more age restrictions on said organs. The organ
donation system might become linked to class and
social economic status with the lower classes
accessing the donation system whilst wealthier
citizens take advantage of all kinds of new
transhumanist life-extension techniques, replacing
body parts as they wear out due to age. BUT what if
3D bio-printing converged with some of the stranger
aspects of transhumanism? The cyborg visions of
using digital technology to enhance our bodies could
become reality as people use bio-printed body parts.
Mathematics
Suggested Activities and
Discussion Points: KS3/4/5
•
•
Looking at the exhibits, explore symmetry and
patterns through mathematic sets such as a fractal.
Design a repeating pattern like a fractal or sketch
the patterns in the exhibition.
Investigate 3D Pythagoras theorem
and trigonometry
»»
Use the 3D printer to demonstrate a 3D graph for
various algebraic equations as well as producing
examples of regular shapes (Dodecahedron).
Science
Suggested Activities and
Discussion Points: KS3/4/5
•
3D printing is allowing rapid production of
replacement body parts. The design can be
adapted to give a precise fit to the individual
patient.
»»
Metals can also be used in place of polymers.
»»
In the future The European Space Agency is
devising a 3D-printed lunar base for astronauts
on the Moon. They set up a tubular structure; a
3D printer then covers it with layers of lunar soil.
A salt solution binds the particles together to
form a rock hard solid.
Look at Dorry Hsu’s project ‘Aesthetic of Fears’. Dorry
uses 3D printing and handmade colour dye to create
surreal, other-worldly jewellery and objects
representing her own fears. The designs appear
inspired by insects, internal and external body parts
and science-fiction. Create your own piece of
jewellery inspired by an element of the body/organs
or insects/nature, incorporate what your own fears
are to the design/s. Consider how a 3D printed
object can be ergonomically designed to fit the
body exactly.
•
Look closely at exhibits inspired by science.
Use a microscope to draw patterns from cells.
•
N-E-R-V-O-U-S System use natural phenomena to
write computer programmes based on processes
and patterns found in nature.
•
Refer to Michael Eden’s ‘Bloom’ pieces which are
made by Addictive Layer Manufacturing from high
quality nylon material covered with a soft mineral
coating. The radiating structures have an organic
appearance and are reminiscent of plant forms.
Study forms in the natural world to identify what
Eden may have been inspired by.
•
Research — Richard Arm’s Master thesis entitled
‘Synthesizing The Human Heart With Polymeric
Elastomers- Applications In Human
Anatomy Education’.
There are revolutionary ideas and projects for 3D
printing already existing in the world of Science.
Discuss:
»»
30
•
3D printing always leaves traces of patterns.
What shapes do you see?
»»
Also researchers at Wake Forest University are
using the technology to print new skin directly
onto a burn wound. They scan a burn victim’s
wound into a computer, which in turn creates a
3D image with the exact size and shape of the
wound. The printer then prints new layers of
cells—using skin instead of ink—directly onto the
lesion. Developed for US troops in Afghanistan,
the whole process only takes an hour.
Physics
Computing
Suggested Activities and
Discussion Points: KS3/4/5
Suggested Activities and
Discussion Points: KS3/4/5
•
Find the positions of centres of mass of standard
uniform plane laminas, including rectangle, triangle,
circle and semicircle.
•
•
Produce a set of laminae to support the teaching of
centres of mass in mechanics instruction.
•
Consider chair stability — the forces weighing down
during chair occupancy and equilibrium within chair
production. Apply mathematics, such as
trigonometry to calculate back angles, plot
coordinates in the software to ensure designs
maintain balance once printed by the 3D printer.
•
Byron Coleman can be referred to for inspiration on
how a designer uses physics and mathematics, look
into what has Byron had to factor in to create
his furniture?
•
Perform a costing exercise to evaluate value
for money.
•
Project work to incorporate 3D technologies:
robotics, solar and hydrogen powered cars
and rockets.
•
Look at Grace Du Prez’s 3D printed car for Nissan
for inspiration: https://www.youtube.com/
watch?v=OAh7W1XpCUE
The notion of computer generation of random form
is not in itself original. The capability of computers
to add an element of random selection to any
mathematical function has been long appreciated.
Research:
»»
The collaboration between the artist William
Latham and the mathematician and computer
graphics expert Stephen Todd.
»»
What is the abstract form named ‘form synth’?
»»
Research Latham as a ‘digital Darwin’ with the
development of the ‘Mutator’ software. Explore
the power of natural selection with the
development of Todd’s method with Richard
Dawkins’ ‘Biomorph’ system.
»»
Research the use of a haptic arm and other
technology and programmes used by designers.
What are the advantages and disadvantages of
using technology?
»»
Discuss whether you feel that this process
provides a genuinely new way of working, in that
is has led to the creation of forms that would not
have been created by other methods.
»»
Technology and craft — who is developing this
relationship? Look at how Eden has used coding
websites and technology to influence his
ceramic works.
»»
Look into N-E-R-V-O-U-S Systems use of an app
to allow users to customise their own designs for
garments. Can you create an app idea/design
which would further this element of making?
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History
Archeology
Suggested Activities and Discussion
Points: KS4/5/Under Graduate
Suggested Activities and
Further Research: KS4/5
Suggested Activities: KS2/3
•
Research how 3D printing is being used in the world
of conservation.
•
Syria’s director of antiquities has promised that
Palmyra must not “rise again’ and turned into a fake
replica of its former glory. Instead, what remains of
this ancient city after its destruction by Isis — should
be tactfully, sensitively and honestly preserved.
Explore the contrast between the way Pompeii was
excavated by sensitive scholars who preserved its
paintings without excessively touching them up, or
“completing” the Roman houses, with the work of
British archaeologist Arthur Evans’ over-restoration of
Knossos in Crete.
•
The Isis attack on Palmyra was not a counterfactual
fantasy. It really occurred. This 21st-century tragedy is
part of Palmyra’s history now. This too, for the sake of
truth and as a warning to the future, must be
preserved.’ (Jonathan Jones, The Guardian). Discuss.
•
•
Find out about the technologies of the past
and therefore people’s practical skills and
resourcefulness.
•
Quantify the evidence helping us to draw conclusions
about the rarity or abundance of different types of
finds, building materials etc. and therefore about
relative value and availability.
•
Learn about the everyday lives of society’s
ordinary people.
Research the following names and processes:
»»
Mid-19th Century to 1970s Topographic and
photo sculpture: Joseph Beaman University of
Texas: Wileme photo sculpture Blanther ‘s patent.
»»
Walter Woodbury (1865) photo relief process.
»»
George Cartlidge (early 1900s) photoceramic
relief tiles.
»»
Ponton’s discovery of light sensitive chrome slats
+William Fox Talbo patented process of
combining gelatine with Potassium Dichromate.
»»
Walter Ford (1930s) creation of a physical relief
photographic image into a permanent material.
»»
George Macdonald Reid (1950s) use of army
surplus maps-making machinery in production
of portrait busts.
»»
Otto Munz (1956) link between photography
and current technology.
»»
Richard Hamilton (1976) first extant examples of
physical digitally printed artwork.
»»
First machine Stereolithography SLA (1986).
»»
Peter Terezakis (1992) ‘ Burning Man’.
»»
Anthony Gormley’s ( 2008) Core CNC milling
»»
Iris Van Herpen (2007)3D garments ‘ Hybrid
Holism’ and Neri Oxman (2012) ‘ Imaginary
Beings’; Mythologies of the Not Yet’.
»»
‘Freedom of Creation’; Marianne Forrest;
Jonathon Keep; Tom Lomax.
»»
Benjamin Cheverton’s 1884 sculpture copying
machine -there is a copy in the London Science
museum.
»»
The Collection & Museum (Lincoln) and
University of Lincoln replicated a sculpture of a
bull and 3D printed a replica.
»»
Michael Shaw, sculptor, uses museum artefacts
and discoveries to 3D print imitations, creating
a more accessible object for all audiences
to handle.
»»
Michael Eden revives traditional industrial
ceramics and their historical contexts.
Suggested Activities and
Discussion Points: KS3/4
•
Looking at Crick Smith’s ‘Terracotta Warriors’, the
team have replicated historic artefacts, architectural
details and modelling the historic interior. The tactile
replicas improve access for all visitors including the
visually impaired as historical artefacts are usually too
precious and fragile to interact with. Research the
archaeological heritage about The Terracotta Army
and China’s military.
Further Cross Curricular Activities
•
Technology: Looking at artefacts. Compare different
technologies throughout time. How do they compare
with the present? Why do some designs change while
others remain the same? Does this relate to function?
Were the technologies of one necessarily any ‘better’
than the other, or were they simply fulfilling different
needs and desires?
•
Science: Looking at types and uses of materials in
finds and buildings. What materials were used and
why? Consider the survivability of different materials
when buried in the ground and in different soil
conditions. Explore different conservation methods
for artefacts.
•
Maths: Measure and draw finds, introducing scale.
Investigate tessellation and create mosaics.
•
English: Talking and writing about virtually any
project experience! Talk or write about a visit to a
‘dig’ and talking to an archaeologist. Discuss and list
the main features of a find (colour, material etc.) and
describe how it may have been used. Build a story
around the ‘life’ of a single find (where and how it was
used, how it became buried, how it was discovered
and what happened to it? Imagine a future scenario
where societies are re-built using 3D technologywhat are the pros and cons of this?
Photo: Lynne MacLachlan
32
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08.
Appendix
•
Paul Atkinson. & Lionel T Dean: ‘Future Factories:
Teaching Techné’, 2003
•
Book: The Real Thing Essays on making in the real
world, Tanya Harrod, Hyphen Press London, 2015
•
http://www.futurefactories.com/
•
•
http://www.iconeye.com/design/news/item/10195the-peddler-by-unfold-and-barnabe-fillion
Book: Digital Handmade Craftmanship and the New
Industrial Revolution, Lucy Johnston, Thames &
Hudson, 2015
•
Phoebe Jackson-Edwards for Mailonline: Published:
12:50, 30 July 2015 | Updated: 14:24, 30 July 2015
•
www.michael-eden.com
•
http://n-e-r-v-o-u-s.com/projects
•
https://www.ntu.ac.uk/staff-profiles/art-design/
richard-arm
•
lynnemaclachlan.co.uk
•
www.plummerfernandez.com
•
www.emergingobjects.com
•
Jonathon Jones On Art: ‘Palmyra must not be fixed.
History would never forgive us’: the Guardian 11th
April 2016
•
Michelle Lhooq : 10 Insane Things You Didn’t Know
3D Printers Could Do; thecreatorsproject.vice.com
Jul 26 2012
•
Stephen Hoskins ‘3D Printing for Artists Designers
and Makers’ pub Bloomsbury 2013 Bibliography
•
www.cricksmith.co.uk
•
unfold.be
•
http://danitpeleg.com/3d-printing-fashion-process
•
www.graceduprez.co.uk
•
http://danitpeleg.com/paralympics-dress-amy-purdy
•
dorryhsu.co.uk
•
https://www.ted.com/talks/danit_peleg_forget_
shopping_soon_you_ll_download_your_new_clothes
•
http://cargocollective.com/Dorry_hsu/
Aesthetic-of-Fears
•
John. M.Smart: Some Potential ‘Laws’ of Complex
Systems 2002-2015
Photo: Michael Eden
•
Book: Postdigital Artisans Craftmanship with a New
Aesthetic in Fashion, Art, Design and Architecture,
Jonathan Openshaw, FRAME 1 Edition, 2015
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www.nationalcraftanddesign.org.uk
National Craft and Design
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