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by James Thurman
3D Printing and many other forms of digital
fabrication seem to be constantly in the news. Educators are particularly
interested because more and more of their students will have access to these
technologies, possibly even at home. For the past several years, I have been
teaching an entirely online course on digital fabrication. The enrolled students
work with a variety of online resources to have their digital files made into
physical objects. The objects are then critiqued based on images posted on each
student’s blog. The following is a basic introduction to digital fabrication to
facilitate other teachers developing their own potential projects, even if
their schools currently don’t own any equipment.
What is Digital Fabrication?
How digital fabrication is defined is usually
dependent on the field that is utilizing the technologies. The term digital fabrication is most commonly used by design professions
that focus on physical objects, such as architects and industrial designers,
but the tools and technologies have become affordable enough that even
individual hobbyists can now pursue it.
Since the technology is constantly evolving and is
utilized by so many different fields, there is no singular all-inclusive
definition. In my course, we focus on digital fabrication that involves the
significant alteration of physical materials by a machine guided directly by
information from a digital file. The relevant software programs utilized
for digital fabrication either create vector-based 2D files or 3D models. The type of software used and type of file created are essential because
the information within the file is what directs the particular machine.
Digital fabrication machines that use vector-based
files typically cut, etch, and/or engrave flat planar materials, like paper,
plastics, felt, leather, and metal.
Smaller-scale projects (jewelry, tabletop, and other small
functional/decorative items) usually use a laser to cut the desired materials. Larger-scale
projects (furniture, lighting, and architectural components) may use a laser
but might use a waterjet cutter, plasma cutter, or router, based on the
material to cut, desired accuracy, and budget.
Additive or Subtractive Approaches
For the creation of more dimensional objects, the
two main approaches are either additive or subtractive. The selected method is
based on the final form, its function, and desired material. The most common
equipment used in a subtractive way is a CNC (Computer Numerical Controlled)
router, which is typically used on softer materials, like wood and plastics.
ShopBot is a prominent supplier of CNC routers, particularly for individuals
and educational institutions.
There is a wide range of additive processes that
were primarily developed by various manufacturing industries to create
prototypes before putting a part into production. Most of these processes are
referred to as 3D printing. Selection of the type of machine and material is
again based on the desired material properties (strength/durability, surface
finish, color, etc.). The
technology in this area is constantly evolving and significant amount of
updated material is available online. The simplest way to think of how 3D
printing works is to imagine a basic inkjet printer that is printing layer upon
layer of a material to build an object (like a computerized version of a
clay coil pot).
3D Projects
As these computer-controlled processes become more
common and affordable, creative individuals will continue to experiment and develop
new approaches. Many of these approaches start blurring the difference between
2D, 3D, printing, fabrication, and machining. One recent example of this is the
Eggbot, a machine primarily designed to draw on round objects, like eggs.
The best way to understand any of these processes
is to utilize them as part of a project.
Any good digital fabrication service provider, like Ponoko (available
online), will provide explanations and guidelines on their various available
processes and be able to assist you in selecting the best process and material
for your project.
When adding a digital fabrication project into a
curriculum, it is essential to allow more than enough time in order to receive
your pieces from your chosen service provider. Typically, I stagger assignments
so that students send in their digital files, work on another assignment until
the pieces are received, and then return to the original project to complete
its assembly or finishing. This might seem disjointed but just think of it like
an extended kiln-firing for ceramics.
For more specific information about the course I
offer through the College of Visual Arts at the University of North Texas,
please join our group on Facebook: “UNT Online Digital Fabrication
Course.” All of the current
assignments along with images of completed student work are available there. Feel
free to share any successful projects of your own!
James Thurman is assistant professor in the Metalsmithing
& Jewelry area as well as Coordinator of the 3D Design foundation courses
at the University of North Texas in Denton, Texas.
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