Now that I’ve stumbled into this amazing new look with 3D printing I’m playing with the nuances.
Some I can control – the color and type of filament (type only if I’m printing on my Cerberus 3D 400 – it can handle a lot of different types because of its ability to print at a higher temperature than the other 2) – and, of course, the shape of the design itself.
What I’m discovering so far, though, is that there is a wonderful randomness about how the technology affects the appearance of the sculptures.
That’s easy to see when you look at 3 different prints (right), all the same form but different heights. The difference between them is striking and also extremely exciting.
I love that the process, which is such an integral part of my work – not just how I make my sculptures, but part of their intrinsic look – is speaking so loud and clear ….
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I learn by doing. Yes, I also research, read, watch videos and gain knowledge in other ways, but mostly I play and push beyond what I already know to learn more.
A lot of my sculptures, such as Knot Me and subsequent artworks based on what I learned from tipping a trefoil knot on one corner, are a result of “I wonder what will happen if I do this ….”
That very sort of “following my curiosity,” as author Elizabeth Gilbert calls it, is what has led to one of the most exciting developments I’ve encountered yet in 3D printing.
As you know, if you’ve read this blog or watched my site, Instagram or Facebook for any time, I’ve been using 3D printing to create sculptures for about 5 years. I’ve enjoyed developing my own style of flowing, sometimes twisting and even angular forms, some of which are near to if not impossible to make in metal.
But this latest development, the result of playing with settings, is creating an entirely new look for my sculptures …. Read More →
Since I moved my 3D Systems CubeX 3D printer down to the studio, I’ve been able to play with it while I’m in the office cooling down – Arizona summers are really brutal when you work with fire and wear heavy protective gear. The CubeX gives me another way to play that keeps me under 1000 degrees.
One reason I hang onto this old 3D printer – it was the first one I owned – is that it prints ABS (acrylonitrile butadiene styrene) filament (the same stuff used in Lego bricks), which is petroleum-based. Although I mostly print in PLA (polylactic acid), ABS lets me do some things I can’t do with PLA.
In particular, it lets me print the two forms shown in this post, which my deltabot printers’ software just can’t seem to handle. The CubeX software can handle the thin edges better and print pieces without supports, which means much far less clean up. It also lets me use a filler that PLA probably wouldn’t put up with.
Accordingly, I decided to create these two forms for an upcoming show. I knew they wouldn’t print perfectly, though, so some body work was in my future ….
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I’ve written before about how I never create exact multiples of designs, 3D printed or otherwise. It’s possible, it’s just my philosophy to always create unique artworks.
That being said, I do enjoy creating variations of sculptures – something I also do with my metal works – which is how series develop. (If you go to my Website, you’ll see how I have multiple sculptures in the same vein, which are organized as series, in both my Fine Art and Home & Garden categories.)
Sometimes series develop because, as I create one sculpture, I can’t help thinking, “I wonder what would happen if I … ” took a different approach than the one I am already committed to on the piece I’m currently making.
Other times, someone will say something and spark an idea, and I can’t wait to see if it will work in a new sculpture. (A good example of this is Opioid, a 3D-printed sculpture with a light inside. I’ll do more with lights, too – it’s the single most asked question about my large format 3D printed sculptures: “Can you put a light in it?”)
Recently I 3D printed a piece on my 8-foot-tall Cerberus 3D Gigante 3D printer for a visiting TV crew and decided I wanted to make a variation on this design using the same luscious filament ….
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I originally began working in wood (OK, in cars, if you want to go back further). I didn’t do anything professionally with it, but I built some furniture.
Then I turned to metal, which has been the bulk of my practice since I began selling my artwork in the early 2000s.
About 4 or so years ago, I began playing with 3D printing.
Now I work with metal during the day, and 3D print in the evenings and on weekends, having fun with various filaments and forms along the way. I’ve sold a number of 3D-printed sculptures, the largest of which is 5-1/2 feet tall.
It’s been amazing to watch 3D printing evolve so quickly, and to see intersections between my metalworking and 3D printing worlds. Now another intersection, or blurring of the lines, has happened, and this one is a big deal ….
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OK, maybe I went a little overboard in the headline, but I’m still really jazzed at the reception of my 3D-printed sculpture at the recent Sculpture Tucson show in, yes, Tucson, Arizona (is there another Tucson? Hmmm, I’ll have to look that up ….)
The turnout at the show was incredible. Preliminary estimates say that 4,300 people came through in just 2-1/2 days April 6 – 8.
Although the show was outside at Brandi Fenton Park, I had my Cerberus 3D 250 running the whole time. Amazingly enough, it only failed once when the wind got the best of it, but overall, it performed beautifully.
It also fascinated people. A few people who came by knew about 3D printing, but most visitors had never seen a 3D printer running before. That meant I did a lot of education, which is how it usually goes when I have the printer running at an event.
We actually apologized to the artists around us, who had to hear the spiel over and over and over again. The challenge was always explaining it like I’d never said it before, but what I would say seldom varied (“… start in CAD …” “… the filament comes down from here …” “… like a big glue gun …”) ….
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Even though I have an 8-foot-tall 3D printer that will print up to 4 feet tall, there are times I’d like to make something bigger.
I have done that, as evidenced in the 5-1/2 foot tall sculpture Epic Swoon (below), which was commissioned by PriceCooperswaterhouse in Columbus, Ohio. That sculpture, the tallest 3D-printed piece I’ve made to date, reached its height by placing the main part of the sculpture on a black pedestal.
In all honesty, I have not had much luck yet in matching parts so that they can be put together seamlessly, so the contrasting pedestal was a handsome workaround.
Recently I created another sculpture (right) – well, at least the start of one – by printing 2 sections and sliding them together using slots. The fit is tight and requires no adhesive, but it wouldn’t hurt, either.
So it’s no surprise that Pinshape‘s recent post about using adhesives for 3D prints caught my eye ….
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Crazy things happen with 3D printing, especially with my 8-foot-tall Cerberus 3D Gigante 3D printer.
As Steve Graber, who built this monster, has said, whatever this printer does, it does spectacularly. That definitely includes surprises like the “slubs” on my sculpture Love and Marriage, which are explainable, and recent moments like the time the print head decided to print a foot to the left of the print bed.
The most recent and as-yet-unexplainable oddity – or, as it’s called in the art world, “artifact” – is what it did to a print I just finished ….
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When 3D printing first became popular for more general use – it’d already been around 20 years in industrial and scientific settings – “rapid prototyping” was the buzzword you heard everywhere. (After I started working with 3D printing and especially my 8-foot-tall Cerberus 3D Gigante 3D printer, I found this hilarious – there wasn’t much rapid about it.)
While I do create sculptures using 3D printing, I also use it for protyping. It’s really important when I’m creating a sculpture in CAD and then actually building it in metal to be able to see all aspects of the form.
A great example is a sculpture I’m just beginning, Schubertii. Based on the plant by the same name, this sculpture will be 12 feet tall. Seven feet of that will be the sculpture’s “stem.”
The stem is fairly simply to look at, but creating it in metal is going to be, well, challenging. Its round edges and flowing form will require me to use a combination of tools – air shaper, English wheel, maybe even the slapper (yeah, there really is a tool called a slapper) – to get the rounded form that is the opposite of how metal comes, in flat sheets.
To get the form right, I printed the stem maquette, or model, on my Cerberus 3D 250 desktop 3D printer ….
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Since I became a full-time artist in 2006, I’ve purchased and used a lot of tools. A lot of tools. If you took the recent video tour of my studio, you see many of them, and yes, I use them all. Using the right tool for the job can mean the difference between a job well done and one that turns out just OK, and the difference between spending hours and committing days to a single task.
Recently, I “moved up” in the world of metal working with a purchase of a Dynatorch Super B 4×4 Plasma CNC table (right). This tool allows me do jobs in an hour that would have taken me days, and does them better. It cuts out the metal accurately and cleanly – no more cutting close, then trimming or grinding to size!
The CNC table is a game changer for me, much like my 3D printers have been.
Interestingly enough, my experience with 3D printing helped me get up to speed on the Super B a lot faster than I would have otherwise ….
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