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creative digital technology & ceramics
The Digital Divide
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The Digital Divide creative digital technology & ceramics by michael lauder
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Honours Project Industrial Design 2016 Dr Scott Mitchell - Supervisior Michael Lauder michael.lauder.spencer@gmail.com With a special thankyou to : Dr Scott Mayson Issac Francis Tao Delves - Project Assistant Ben Landau
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Contents
Abstract The Narrative of Ceramics The Maker & The Machine Exploration of Contemporary Ceramic Practice Precedent / Trend - Ben Landau & Lucile Sciallano - Olivier Van Herpt & Ricky Broekhoven
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Process & Immersion Project Development & Documentation - Early Days - Digital Touch - Tactility & Algorithms
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Closing the Gap Reflection Glossary References Figure List
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Abstract
The recent emergence of creative digital technology in the field of ceramics has opened up new possibilities in regards to the kinds of objects that can now be made. This is similar in many ways to other technologies that have been introduced throughout the history of ceramics such as the potters wheel. However because the craftsman’s expert and unique touch is less involved in the process of physically making, a question of this new technologies craft value arises. Can 3D printed ceramic objects be influenced by their creator to provide special significance to consumers in the same way traditional ceramic objects are perceived? Can they be unique in their own right and bear the characteristics that are commonly desired within craft objects? Or has the blueprint-toproduct nature of the printer removed all possibility of unique individual objects?
This research explores the relationship between the craftsman, the clay material and the process of 3D printing. It examines the interaction between maker and machine and how this interaction may be redesigned to enhance a craft outcome. By doing so this project seeks to challenge current thinking of what ceramic craft is or can be now and in the near future through the production of a unique craft interface and a series of ceramic objects.
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The Narrative Of Ceramics The history of ceramics is vast and rich, ancient peoples have found and used clay to create useful and ornamental objects dating back 20,000 years. The durable ceramic products and forms are often the only evidence of cultures who have disappeared completely and provide historians with an insight to culture of the people. Ceramic arts through the ages have developed and evolved through techniques and technology that has become available to the industry (eg. throwing wheel 4500bce). The history of these techniques and the materials they’re applied too add to the historical and social understanding of what ceramics are and why they can be considered such a remarkable process and work of art. Clay ceramics hold such historical value through their process and construction. These methods and procedures are built upon generations of exploration, understanding and knowledge that
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has been passed down from teacher to student and its these people that carry and tell this story through the objects they make. These are the elements within the material and process of ceramics that make the objects so inviting to people. They carry this story and history of experts who have spent thousands of hours with their hands, learning, making and devoting their life to this craft. This story or narrative being entwined and present within an object is one reason that there are practices such as Kintsugi. People grow attached to objects and when they chip, break or crack it can be seen as the end. However the theory of Kintsugi, where a damaged (cracked) object is repaired with gold, adds to the narrative of an object and makes it even more unique than before and subsequently more valuable to the owner. The narrative of ceramics is one of a connection to an object because of its history, and the humanistic qualities that are represented in the object through tireless dedication and determination of a craftsman’s desire to make
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beautiful objects. People often look for and identify with human qualities and human experiences, craft is a way of sharing these experiences through a process as an expression of themselves. The ability to connect with and imagine what it took someone to make and form the object in your possession may well be one of the defining reasons consumers are so drawn to craft objects and able to project their own stories upon these pieces of work. Without the story of human hands forming earthen material which is often so relatable to the consumer, is it possible this human element can be transferred into the digital production method, can a product born of a printer be capable of carrying the room for projected narrative? A 3D printer can create near perfect replicas of any design it is programmed to print, so there may be nothing unique about the objects themselves when they are printed but does this matter? Everyday devices like the Sony Playstation can hold meaning and a special place in someones world, even though they are mass produced items.
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So although craft objects are often seen as having the ability to carry narrative more easily, it is also true that a high quality mass produced object can do the same. Furthermore, the ceramic technique of slip casting allows a ceramicist to create near replicas of a mould that they formed. This can be seen as a very similar process to the aforementioned Sony Playstation, even thought they wont be identical and they will have their own little differences, they are still remarkably similar objects that are not entirely unique unless intended or acted upon to become individual in nature. In practice, the research will help create feedback, a reaction and an understanding of what it is about objects that people see and place narrative upon. This may be achieved through the production of a series of objects that challenge or confirm the long held notion that handcrafted objects are innately more beautiful, or more valuable than their mass produced counterparts or even those that have been produced with an emphasis on digital fabrication.
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Be it through contrast of two types of processes or the combination of these processes, an exhibit of sorts that provides a space for people to be challenged in what they currently understand to be craft and its influence on an object in specific consideration as a vessel for narrative. Objects can only create a platform for narrative to be carried and held as narrative is entirely the consumer or users own and is something that is projected onto objects that evoke something inside that individual. This is because a story is very personal and because every person experiences different things in their walk of life, and these objects become a beacon in the home, a reminder of a specific feeling, it is a celebration of humanity.
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the Maker & The machine Craftsmanship is often seen as a set of skills that are utilised in a particular fashion to create quality pieces of work, it may bring to mind the image of a carpenter working away in a workshop, carefully using his tools and hands to shape a chair leg or a table top. The carpenters movements are precise and they know with certainty what their actions will do to the material that is under their control. It draws parallels to a snake charmer playing his flute, with the snake completely under his spell. The connection between a craftsperson and the material that they work with is something that is in a sense, second nature. To know and understand how a material reacts to different conditions such as temperature or how it will move and change with particular techniques that are going to be applied is something they do not need to consciously consider, or at least, it is not the focus when they are creating and building. Sennett (2008) says that “...about ten thousand hours of experience are required to produce
a master carpenter or musician.� (p.20), and this experience determines how they react and how they function in different circumstances, eventually understanding and react to material and process through intuition and reflex. In ceramics, there are many kinds of techniques that each have their own little tricks of the trade, their own special tools that are designed for these unique processes and different kinds of circumstance that can affect an outcome. For example, the throwing wheel is a piece of equipment that helps a ceramicist to create tall pots and vases by spinning clay that sits on a wheel that will be shaped by the ceramicists hands as it spins. This process requires complete focus from the creator as there are so many things happening at once, not only is the ceramicist shaping the pot, they’re also controlling the speed of the wheel with a pedal as well as making sure the clay itself is wet enough to be effectively shaped. If the clay is not wet enough, if the clay is too wet or if the wheel is not moving at the optimal speed then the potential for the pot to fail is increased.
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“Since the Industrial Revolution of the eighteenth century, the machine has seemed to threaten the work of artisan-craftsmen.” A craftsman’s ability to know and consider all these factors without needing to focus on them are what sets them apart from amateurs and casual potters, they can focus on shaping the clay through touch and understanding of the materials properties. A crafts mans ability to feel, work and react in real time to the material is something that is truly special and is only gained through endless hours of dedication to their craft. In the field of ceramics, a craftsman may be seen as someone with both hands covered in clay, shaping and moulding an object in a small messy room. The image of hands feeling and working the material is something that has become synonymous with ceramics through imagery in movies or popular culture, however sometimes it is forgotten that craftsman use all sorts of technology in their work and that this technology mixing with craft isn’t a new thing, as mentioned before in regards to technologies such as the
throwing wheel. Craft has consistently through history welcomed new forms of technology into their practices, from slip casting to machines such as the lathe. These processes do not detract from the craft because it is not the machine that ultimately determines the outcome of the object that is being created, they are aids to the craftsman, they do not create for the maker. A craftsman is indeed skilled with their hands but they are also skilled with a range of appropriate tools, these tools becoming extensions of their hands which allow them to create in new and interesting ways where they have been otherwise limited. The threat of movements such as the Industrial Revolution are indeed important points in time when it comes to the history of artisans and craftspeople, Sennett (2008) states that “ Since the Industrial Revolution of the eighteenth century, the machine has seemed to threaten the work of artisan-craftsmen.” (p.39) and it was indeed a threat, Victor Papanek (1972)
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reminds us “A hundred years ago, if a new chair, carriage, kettle, or a pair of shoes was needed, the consumer went to the craftsman, stated his wants, and the article was made for him. Today the myriad objects of daily use are mass-produced to a utilitarian and aesthetic standard often completely unrelated to the consumer’s need.” (p. 71) The threat to the traditional processes was definitely real, however craft found its place in the world as did mass manufacturing and the craftsman once again adapted to technologies influence. Their work became glorified by mass manufacturing in some ways because of the human qualities that it is still revered for, it’s uniqueness and it’s narrative through process. Artists and creators are often known for doing this with their work, they make work which evokes a response in the observer, be it emotional or a question that they consider internally.
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There is an understanding from the person looking at or holding the piece that was created, of what it takes to create an object with your hands even if you can’t replicate or do it yourself. Richard Sennett (2008) describes craftsmanship as “...an enduring, basic human impulse, the desire to do a job well for its own sake.� (p.9) and this is something that can be seen through the objects produced by these masters of method and material.
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An exploration of contemporary ceramics There has always been technology that was introduced to the craftsman’s world, it was an aid, a way to build and create with more accuracy and speed. It allowed for new techniques and opened the door for new possibilities in the realm of the industry such as batch production through processes like slip casting, or creating magnificent vases through the techniques that the throwing wheel allowed. But craft doesn’t intend to use technology to mass produce its items as Bruce Metcalf suggests “Craft still stands against the anonymity of massproduction”. Craft is unique, individual and has personality. Here in the present, ceramics has taken a big step recently with 3D printing technology. This new and exciting platform which is revolutionising a lot of the design
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world, has not left the ceramics artform out of the loop. One area that 3D printing is helping in ceramics is with creating and producing moulds for slip casting techniques. Previously the positive shape that forms the basis of a mould would have to be hand made, however this can now be simply 3D printed, this technology has sped up and revolutionised the process of creating ceramic objects in a batch production aspect. 3D printing became available in the early 90’s and has been developed extensively from there on. However until very recently, ceramic 3D printing (3D printers printing out ceramic material directly) wasn’t extremely precise or reliable. Recent advances have meant that now however, it is very reliable and accurate making it a viable alternative to batch production slip casting and has the ability to speed up the production of mass produced products such as tiles or home wares. With the ability to create extremely realistic replications of materials such as stone and wood, 3D printed ceramics create a tile, in this case, that looks and functions like the actual material it replicates with the potential for sustained durability. It combines this with a durable surface that is easy to maintain and keep clean. This is a great example of ceramics working with technology to find a creative solution to a problem. Ceramics blending with technology in this fashion means that it can
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really progress in terms of production methods and although it could detract from previous and classic methods, it also broadens the opportunities artisans have to work with and opens doorways to do things that before could be seen as impossible. The possibilities for ceramics are numerous because of its ability to develop and evolve with technology whilst still staying remarkably earthed in tradition, and this is where the project aims to focus its research and development. History suggests that although new technology will come into the field of ceramics, it will only develop the field rather than destroy current practice. Current technology can be useful and replace a ceramicists, however it won’t have the same qualities or be able to replicate what they can do with their hands and years of experience. A product made by trained hand is reactionary, it’s alive and the material is responsive to the hand that is working it. A machine is often seen as cold and numb to the material, it acts as programmed and isn’t as capable of adapting to rapid change in conditions when creating as a ceramicist is. On top of this, CAD influenced objects hold a very strong visual language and this may be a draw back in regards to it’s effectiveness in breaking into the craft field. Reasons such as these are why hand made products hold strong narrative because of the care and nurturing entwined in the object.
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Fig 1.
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This could be a reason people are drawn and will continue to be drawn back to ceramics because they can in some way quantify the work and effort behind the product, and it is the same in all crafts. Technology will be a big factor in the progression of ceramics though, there will be many more advances in the future and 3D printing will only continue to grow in the industry. The opportunities to intervene in this industry are numerous and this research hopes to provide a new way of looking at
Malcolm McCullough reminds us that no glass blower lays hand on the molten material that they manipulate, they do so through specialised instruments. the field and addressing some of the questions that have been raised through various methods of research and design. Craft techniques are often linked to special objects through the process of making, they appear to have a perceived ability to carry or have narrative projected upon them in a way that other forms of production may not. This notion is something that the ceramic industry thrives upon, made visible through the vast amount of unique objects at craft markets, galleries and small shops. In 2011 it was stated on the British Museum’s website that the craft industry was worth 1 billion pounds a year in
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Britain alone. These objects lend themselves as a vessel of narrative for the person who purchases them, with their hand made origins, a consumer may consider their piece one-of-a-kind. However, with new creative digital technologies coming into play there is a challenge to this way of thinking. There seemed to be a clear and definitive connection between the craftsman and his tools, a tool was acted upon and guided by hand as a way to create and mould an object to the craftsman’s wish and desire. However, with the introduction and improved accuracy of creative digital technologies of late, processes like 3D printing have begun challenging the relationship between a craftsman and his tools. However the emergence of 3D printing raises an important question for the craft practice and how technologies are employed within the field. Is the production of objects created entirely on the digital platform, still craft? Richard Sennett (2008) mentions that “The blueprint signaled, moreover, one decisive disconnection between head and hand in design: the idea of a thing made complete in conception before it is constructed� (p.42) which is effectively what is being done with 3D printing. Once an object is created on CAD, there is little room for learning or adjustment because the mistakes will only be realised once the object is printed. This is very different to the process when
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objects are created by hand, the artisan is constantly learning, fixing and making adjustments. The current 3D printing process can be compared to sewing in many ways, Alexandra Lange (2014) describes it like this, “... you can download a digital file (like a pattern) to tell your 3D printer what to print. This is a little different than sewing because, while you can choose your filament... you don’t have much input. You are not cutting, pinning. You are not customising.” This is another example of how the hand could be disconnected from the making process, and according to the oxford dictionary which defines craft as “an activity that involves skill in making things by hand”, 3D printing may not be considered a part of pure craft, however Malcolm McCullough reminds us that no glass blower lays hand on the molten material that they manipulate (McCullough, 1996, preface), they do so through specialised instruments. So the question is raised, could CAD and the 3D printer be considered a specialised instrument that the craftsman uses to form objects from their imagination and creativity, is it just an extension of their hand and would it therefore still hold the same craft value? A seemingly obvious advantage of a digital process in regards to the production of ceramics is the ease and ability to change and adjust objects and forms to the liking of the maker. The turn around time is much quicker than if you had to re-cast moulds for
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slip casting or create a hand made ceramic pot for example all over again on the throwing wheel. This allows to speed up the process which can be important to a designers livelihood. There is something to be said about customisation within the field which could be made easier with CAD and 3D printing. For example, businesses like Officeworks are 3D scanning and then 3D printing “mini me’s” which are effectively action figures of themselves. However it would seem unlikely that ceramicists would utilise this sort of customisation in their craft practices. These people have forged career’s and have become respected individuals in their field and are often sought after by designers and customers alike because of their skill and expertise in working with the process and materials that they do. The objects that they create are special because of the expertise and knowledge behind their creation and people are drawn to them because of the objects themselves. They are not made-to-order and are not influenced by anything other than what the artisan chooses to be influenced by. The relationship between craft objects and those who purchase them is very different to the kind of objects that Officeworks is selling and the service that they are providing because it is done as a service, rather than as a passion or craft.
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PrecEdent / Trend Ben Landau & Lucile Sciallano There are some current examples of designers employing 3D technology within their creative practices to experiment with ceramic material. Through various forms and shapes, they are attempting to test the boundaries of the material as well as the social connotations in regards to craft and technology within the field of ceramics. The first of these projects that were studied was that of Ben Landau and Lucile Sciallano, an industrial designer and ceramicist respectively, who created a series of vases or jars (see Fig 2). These jars were created specifically to be 3D printed and as so, the designers were using the process to influence the aesthetic of the vase. They created a vase that would intentionally fail when it came to printing a specific part of the vase, that being the rim at the top.
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Through each and every print, there were slight differences in regards to the form of the top of the vase, making each different and unique in it’s own way. This project is important to look at because it shows that a 3D printer can be used to create individual pieces that are all slightly different from one another, which is often considered one of the special parts of hand crafted products, that no two pieces are exactly the same. When speaking with Ben, he mentioned how people would be looking at the pieces in a set and feel drawn to one specific vase over another because of the way that the top of the vase had fallen in the print, even though it was created the same way as every other vase, people still found a connection to an individual piece because of it’s unique differences with those around it. This individuality of a form or object ties back to peoples yearning for humanistic elements within objects, elements they can see, understand and connect too. Ben and Lucile’s project manages to achieves this as demonstrated by peoples reaction to their creations, and it’s all been done through 3D printing and CAD.
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Olivier Van Herpt & Ricky Broekhoven The other project that was looked at was the result of a collaboration between Ricky Van Broekhoven and Olivier Van Herpt. Ricky and Olivier worked together to 3D print ceramic objects that were affected by sound waves that were playing during the print (see Fig 3). The print played out on a print bed that had a speaker underneath it, this was playing music and vibrating which in-turn affected what was being printed as the vibrations ran throughout the whole printer. It turned out to be an very successful project, creating a variety of forms and patterns through the vibrations of the print bed. These objects shapes and patterns do more that provide a nice aesthetic to look at though, these designs challenge the notion that 3D printing cannot be a craft. By externally influencing a print, the designer is working on the object that is being printed in real-time, rather than traditionally waiting till something goes wrong before fixing the CAD file and beginning the print again.
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This work and dedication to a print whilst it’s mid print could potentially provide the process with more of an artistic and hands on approach than it’s otherwise considered. Moreover, like with Ben and Lucile’s project, the unique structures that are created and the intricate patterns that are produced through this method are all done, or could all be done, on the same file with different variations in the vibrations. In that same way, you are left with an object that is remarkably similar, but completely unique to the others that are next to it. The hand of the craftsman is found in each object this way and it leaves the object with the ability to be presented as a special and unique piece to individuals who are drawn to the difference a unique patterns and shapes that the piece has which separate it from the others in the room.
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Process & Immersion The project was broken down into key topics that were to be researched extensively, they were the role of craft in the field of ceramics, how social and historical concepts are told through narrative in the ceramic process, as well as emerging digital technology in the field of ceramics. These key elements build the foundation of the project and provide it with a solid platform to develop and expand on. On top of this, research on the history of ceramics and other related crafts that may hold keys to the meaning of craft in design and art within the context of this project was undertaken to fully grasp these important concepts that would further the course of the design. Research not only provides footing for a project to stand, but also opens the mind to new prospects and directions so long as pre-conceived notions, plans or ideas are not carried into a design project with the intent for them to be the be-all and end-all. Entering into a project in this fashion can, and often leads to finding facts,
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articles and journals that agree with personal ideas and ignoring others that challenge it. Through challenges, new pathways can be opened and a richer project can develop, but bias’ must be kept aside. Because the field of this research is dealing with crafts people and professionals as well as exploring what craft is itself, it was important to meet with and talk to those who are most knowledgeable on these subjects. Therefore interviews were an important part of the research behind the project because the opinions and insight of people within the industry are invaluable, partly because the project has a focus on craft and technology. These are the people who are most affected by the technology that is being discussed, so their take on how it works in the industry and if its a craft or not can be considered as very important and respected information. Through interviews, great research and information was gathered on the subject of 3D printing and its value to the ceramic industry as well as its potential to be considered a craft process. There is a lot of work that goes into producing 3D printed ceramic objects and the designers feelings about this were very interesting in regards to the relationship between man, machine, the hand and the materials. By talking to industry professionals such as Ben Landau and Lucile Sciallano about how 3D printing influences
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their design practice and how they approach designing ceramic objects with this new technology. These insights allow the project to focus on the important questions that are posed by understanding what experienced designers and ceramicists feel about the direction that this new influence is taking their field. There is of course academic research undertaken by looking through journals, articles and essays about relevant topics by respected designers and crafts people. These journals and articles provide evidence to back claims that the research may be putting forward, giving it legitimacy and grounding in its position. These checks keep a project on course and in good standing when coming under scrutiny from peers and interested professionals. There is also valuable information to be found about relevant topics and projects that hold a similar nature to that of this project, To further understand the field, a survey discussing and asking what people considered craft and what they didn’t was created and distributed on social media. It was focusing on hand made objects vs 3D printed objects. The results from it were not very useful however due to the poorly worded questions, the poor construction of the survey as well as the lack of knowledge as to who was answering the questions.
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It was a lot of data that pointed in no real direction, however some of the qualitative data that was received through the survey was very useful and brought insight into how people think about the subject. This experience pointed out some of the flaws in this type of research and pointed to how it could be done better in the future. By setting up categories like what people do for a job, or their experience in regards to the topic of the survey, you can get a better understanding of what the data represents and it could become more useful. The project has also looked at the idea of working with focus groups and unfocused groups. These two forms of research provide the designer with very different perspectives on a topic as one is of people within the industry who are very knowledgeable about the subject, where as an unfocused group is made up of anyone. By receiving answers and listening to discussions from these two sets of people and what they think about certain questions, this project can receive a wealth of knowledge that can be applied and will influence the design outcome.
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During one of these unfocused groups, there was to be a series of pots each very similar in appearance but all made with different techniques such as coil, thrown, slip cast and 3D printed. The results of this would help paint a picture of what is important to a person when they are choosing objects; do certain techniques create more interesting objects or is it purely what an object looks like that makes it interesting to a customer or user. Research never truly finishes during the design process. This project should be forever changing and growing through experimentation and ideation, and whilst classic research techniques as mentioned previously, may still be employed, there are hand on techniques and methods that further influence and inform design. Sketching and making are some of the most basic ways that a project can get started and evolve because these methods allow a designer to experiment and play with size, shape and form. Whilst drawing is very good for quick ideas and a great place to start with most projects, it is model making that allows a designer to truly understand a form and how it could be implemented in the real world. Designers should never stop here however, they can go back and create again and build again and develop these drawing and models.
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Through body storming, a designer can interact with an object to understand size and how people may hold and interact with the object they intend to design. This is invaluable knowledge and something that just drawing alone cannot help with because it is limited by a 2D plane. These steps are very important in the initial concept phase of a design project and are some of the ones that this project itself may utilize when experimenting with form and size. Taking it further, a designer can then bring these models to experts in the field to get opinions on the objects. This can provide good insight into what makes an object interesting or successful within the eyes of an industry professional, however a designer should still stay true to their vision and use this insight as a guide.
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From this point a designer begins to develop the form with different methods such as material exploration. This project is working with ceramics, however there are many different types of clay that form the basis of ceramics. From fine porcelain to earthenware, the difference in material is great and beautiful. Through experimentation in material, a form can take on a whole new appearance to the consumer which is exciting in regards to the possibilities that the project holds. Due to the nature of the project being undertaken, process experimentation is essential to the journey of designing a ceramic object, be it through classical techniques or digital technology, this can be helped by meeting with experienced practitioners who understand the materials, providing insight into it’s limits. By testing different ways of using and creating with a ceramic material, new finishes and forms are likely to be represented and this is one way of creating interesting forms.
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There may even be experimentation with how a 3D object is printed, considering things such as temperature and drying rates as well as the mixtures density or how much water it holds. Furthermore, experimentation can be done after the object is fired with different types of glazes and combinations of these glazes, there are so many opportunities to create different individual pieces through one process, let alone the amount of unique pieces created through several different processes. At each stage of this experimentation, objects could be presented to focus and unfocus groups to provide feedback on how the shape looks and their experience with it from both perspectives. The project can use this information to then experiment further and grow the project. The information received shouldn’t directly control the next movement in the project, but rather influence it’s direction.
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Project Development and Documentation Early Days This section of the document contains examples and evidence of the project development, this will consist mostly of reflections about where the project is heading and what will be occurring in the next phase of the design process as well as talking about the success’ and failures of experiments and where these findings led the design process. Upon settling on a direction for the research document, the next steps that followed were to commence immediately. This was primarily the research portion of the project because understanding the field and
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Fig 4.
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the room for development would determine the first steps that would need to be undertaken in regards to experimentation and exploration of the question. As discussed in the previous section of the document, surveys and interviews were undertaken and these influenced where the project headed initially. Basic sketches (see Fig 4.) were one of the first steps taken after these interviews and surveys. They were a way to get ideas flowing in regards to form as well as trying to create a challenge for the printing and to test its limitations. These sketches were aiming at creating a wide variety of forms to consider in regards to objects that could be created, covering both heavily geometric shapes as well as very organic shapes. Particular sketches that were influenced by coral formations were considered by the project as something quite interesting and it was thought that these shapes may be a special object that would be interesting to test on the 3D printer. These organic forms are the kind of shapes that a precise printer may be able to replicate, but it was a question as to whether or not the natural flow of the forms would be conveyed through the precise printing. Keeping these forms on the back burner, the next phase of the project begun.
A series of hand made ceramics were created, these ceramic pieces were originally intended to be created as a set of very similar shapes created with different hand made techniques, along with a 3D printed piece of a similar shape. The plan was to present visually similar objects made in different ways to a focus group and see what they thought about the pieces and if it’s production had any influence on their feelings towards the individual pieces. These tested the level of craftsmanship and the limitations that the project faced in this area, although not perfect, they were created. However there were a few issues when it came to 3D printing the final piece. To improve the test, a suggestion was made that professional ceramicists create these objects whilst work on the printer was being done, these higher quality pieces would potentially give better results when discussions were taking place about the objects. One clay thrower was found to throw a piece, however after the objects firing, it was taken by someone else instead leaving the experiment high and dry.
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Due to time restraints, the project took what it had learned from initial conversations over the original objects and moved on to the next stage. The next approach the project took was looking at how the hand could become more connected to 3D printing as a process. This is because of the commonly perceived problem with 3D printing in its bid to be considered a craft being the apparent disconnect between the hand and the material. Unlike other ceramic related technology such as the throwing wheel, a 3D printer doesn’t have that hand on material contact that most craft practices do have, so this area of the research provided a gap and an opportunity for the project to explore. Because of the gap that presented itself, a lot of ideation and thought began to flow into the work and ideas were put forward such as ways to sculpt models in a virtual reality. This one became apparent because of 3D printings reliance on CAD and it’s need to have this input before it can achieve a print at all. The thought process was that the hands on approach needed to be in
this phase of the 3D printing process to make it a more craft like procedure. However the idea seemed more of a gimmick than a way to move this process into the realm of craft, and as such a new way of looking at the issue needed to be found. Through research of how a ceramic 3D printer works, looking at its mechanics and the steps it takes before it produces a form, the thought of circumventing the CAD altogether and truly connecting the process to the hand. The first idea was to use the mechanism of the printer to push out material, and have your hand guide it much like the 3D printing pens that are available today for plastics. This process would combine skill and finesse to create objects of beauty and take many years to master the technique, much like other processes that have been introduced into the field of ceramics.
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Fig 5.
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Fig 6.
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Tests were carried out with piping bags to see if the material was capable of being used in this way, like a human printer, and in the same way people have been decorating cakes for years. To do this however required the correct kind of clay viscosity. This was achieved by mixing slip with Epsom salts that were dissolved in hot water, this causes the slip to thicken into a material that is able to hold its form whilst piped out of a piping bag or pushed out of a 3D printer. These experiments were successful and created some natural shapes, that if piped very carefully, were able to hold some height and maintain their structure. These shapes were dried quickly so they didn’t collapse (see Fig 6.), this was one of the important findings from the experiments. Weather and temperature conditions were very important in regards to this process’ viability.
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Although there was potential for this kind of process in regards of its craft value, and it could create interesting natural shapes (see Fig 6), there was also the possibility that it is something that is not precise enough due to the narrow margins of printing on top of itself. It did close the gap between the hand and the material however. This was the direction that the research was looking towards, and the tests were successful. This lead the project to consider the removal, or bypassing of CAD as an integral function of 3D printing was the right path to head down. Looking further into this, the idea of adjusting a print mid print and effectively altering the CAD in real time was something that looked like an exciting possibility. The idea was to have a basic CAD file like a cylinder or
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Fig 7.
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a square, that would be printed out like normal, however through adjustments to aspects like the diameter of the shape, the speed of the print or a way to rotate the shape as it prints, the final object would be different to the original CAD shape. It was like a mechanical way to throw clay like the traditional process allows, using sliders and dials that were adjusted by hand as the print happened. This process would take skill to master and time to learn and understand the limitations and capabilities of this process. This was a way of connecting the hand to the material again, as well as removing the CAD from process of printing which means that it is no longer a blueprint that cannot be altered until the print is finished or stopped, and the CAD is adjusted. The potential here was important in regards to the path that the project was heading down, and through research, it appears that nothing like this exists currently. For that matter, even the previous idea of hand piping clay had only been done for decoration in the same way it is done for cakes. This suggested that the idea of creative ways to print were still in their infant stages within the field and that connecting the hand to the printing process was something that was missing in the field.
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Fig 8.
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The direction that this project was moving could help explore this very topic and the potential to innovate within this field is rich. The success of this exploration meant that it was important to start printing as soon as possible, and to do that meant finding ways to do so quickly. With the help of staff at RMIT and fellow student Issac Francis, this possibility became reality quite quickly. Using Issac’s extruder, experimentation was undertaken on the Messy Printer provided by Dr Scott Mayson. There were some issues that were experienced regarding the G-Code. G-Code is the information provided to the printer by the CAD models, allowing the printer to print the clay. Because these files are designed to print plastics, they’re not set up to print ceramic material and as so, it was tricky to get something to print. Shown in Fig 7 are examples of failed prints and experiments that did not go exactly to plan, however these learning experience allow for the method to be better understood, and by tinkering with settings and changing settings, there were models that began to print. As you can see in Fig 8, through experimentation and development, progress can be made. These two pots shown are examples of the same pot being printed in different circumstances. Through prototyping and changing settings, the same CAD file was printed in a completely different way.
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This is reminiscent of the process that occurs in the project by Ben Landau and Lucile Sciallano, in that the exact same form can be printed from a printer and yet it could have a different form. This sort of result can be produced entirely on purpose, or in this case on accident, because it was just a small adjustment of the extruders height which created these two very different forms.
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Digital Touch The next step was creating an interface that could be experimented with to adjust and change the way that the printing process happens. There were two main paths of thought that were being pursued which involved a control system. One being the control of the printer as it printed in real time, the other being the control of a CAD file. Scott Mitchell, supervisor, helped to focus the project in regards of how it approached this particular aspect of the design. Firstly the project headed in the direction of a real-timeprint control idea. The first step was trying to gain control of the stepper motors within the printer through the potentiometer’s that would be the controls for the interface. By soldering the potentiometers to a circuit board and connecting these to the stepper motors, the ability to control them should be possible and therefore providing some potential to adjust the print with these dials. These specific dials and sliders were considered for their tactile properties in regards to how a craftsperson could interact with them when creating their ceramic form.
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Potentiometers provide a way to control functions through pushing, pulling and twisting. The possibility to use the different potentiometres in different ways to utilise their tactile inputs provides an opportunity when looking at user interaction. With one being a slider, like you would find on a sound desk, and the other being a dial you twist, they lend themselves to different kinds of tasks. For example. a slider to adjust the diameter of the CAD cylinders print as well as a slider to control the speed of the print gives a visual and tactile sense of their function. Where as a dial that could adjust the rotation of the print as it was happening would do the same for that specific task. This is one way that the craftsmans hand can be utilised within the process of 3D printing, closing the gap between them and the material that is being printed.
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Tactility & Algorithms Due to the nature of the proposed control board for the real time conrol of the printer, the idea was floated and considered to protoype a CAD file controller with the same control board. This was the next part of the project to look at. Using these boards to control CAD was one way of closing the gap between the hand and the material, physically interacting with the board to adjust a digital process is something that to a point happens with a mouse, but this is in a very different sense. Using sliders and potentiometers instead of a mouse means adjusting multiple factors at a single time rather than the limiting and unintuative nature of the mouse’s point and click. This in a way shares similarities to how a ceramicist would work on clay with both their hands, doing many things at once rather than only being able to use one finger to create a clay form. Controlling CAD through potentiometers meant exploring Grasshopper. This program allows parameters within a shape and object
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to be adjusted through sliders on the digital interface, this can be really useful for making small adjustments to 3D objects or completely reshaping these digital forms. CAD interfaces are something that can be quite intimidating to creative people and when discussing how you utilise CAD and how it functions, Tao was left a little confused. This begun to take the projects focus when it was realised that the possiblity to create unique shapes was just as high as in the other process. Although it was potentially one step removed from the previous direction, this process gave potentially more control over the print in regards to the ability to create something that would actually stand and function. There were plenty of discoveries made in the creation of the algorithms in Grasshopper as someone who is completely new to it. It is a way of thinking about 3D modling that is very different to many other programs, and while at first not easy or intuative, it is extremely logical once you begin to understand how it works.
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Fig 10.
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The example in figure 10 shows how the initial algorithm looks and how the commands are laid out, creating a string of commands that flow down and affect each other. This then allows the user to adjust even the smallest details is very useful. The slider functions naturally lent themselves to the direction of this project. Using firefly, which allows Arduino to connect to Grasshopper, the digital sliders could be connected to the physical ones and they translated to the physical sliders very naturally. It was really an obvious step forward in the big picture of the project. Using this CAD file in its very primitive state, prints were able to be created that suggested the possibility for making unique objects through a printer. The successful prints were not perfect but they translate the idea that was being proposed very effectively (see Fig 11.)
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Fig 11.
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closing the gap These steps lead to the production of a control system that allowed ceramicists to work with and create digital pieces and then print these. The focus of this project really begun to be around the interaction between the user and the interface through product testing with Tao. It was important to understand what a user may value within a control system, was it a direct link to the visual they were seeing, or something that tried to replicate the material the grasshopper file was trying to replicate on the screen. Something maluable and more natural and free in form and function. The style and interaction of the control begun to create itself in regards to how certain ways to input information became the most comfortable to users. Through discussion and testing, it became clear that a more understandable and logical kind of control system was more user friendly rather than a prototype that was trying to simulate the clay material entirely.
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It was understood that a malleable and formless object, whilst interesting and most like the material of the outcome, would be more frustrating and confusing when it came to interacting with the grasshopper file. It was likened to the Nintendo Wii system, which had great support at first as a new way to control games in a way that would seem more realistic to the movement you’d make in a real-life scenario. However the popularity of this system has dropped off significantly over the last few years. This could be due to the frustration felt within the use of the controller and how it can feel inaccurate and be more effort than you’d get from classic controllers for games. So whilst the elements of this kind of controller are nice in the sense they replicate the feelings that ceramicists would feel when working with clay, the question would then be, why not just use clay?
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The decision was made to make a more traditional form of controller that took some tactile elements of clay and use these as inputs of certain functions. This brings a familiarity to the controller as well as keeping the logical and straight forward understanding and ease of use that a traditional kind of control system brings. However the next issue was moving the object in the digital space, the stationary controller meant that you would need to use a mouse to rotate around an object or a joystick of sorts. This lead to a new concept, a hand held controller that could move the object in a digital space by moving the controller itselfW, through the use of a gyroscope. The form therefor had to change because of the nature of the direction. The pill form that resulted was due to its ability to be twisted and the ease that is felt when moving it around, held much like a game controller.
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The sensors for the taper control function however had to be changed, due to the fact that a potentiometer is just much more useful for the type of information it provides, as it can get a value, hold it there when the user has moved it, and then be moved to another value. Otherwise you would need two pressure sensors, one for going up, and one for going down. It could have the release of the sensor as the going down function, but then that makes its modeling function useless as everytime you let go of the sensor, it would also change the model.
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The design of the control became something that was useable, intuative and then became an object that reflected the models current state in the Rhino display through a physical form that rests in the users hand as well. Sliders change the shape of the form and create interest within the controller itself. Closing the gap between the hand and the material through this new process was a massive challenge. There are many paths that a designer could follow to take this kind of project to a final outcome that may be completely different that this one. This system is a way of bringing ceramicists into the world of technology and hopefully gives them a more familiar way to access this technology and use it in a way that still allows them to create unique and special objects. The hand is not removed from the process, in fact it defines the path that the printer will follow in a familiar way to the way ceramicist traditionally use.
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Reflection The project has been one of learning and understanding. At the beginning, all that it was in its entirety was a desire to explore the world of ceramics and where it stood in today’s world of design. A recent passion that had been discovered through a studio last year, ceramics held a beauty and simplicity to me unlike any other in the field of design. Through this project, the intention of developing an understanding of what made this beauty and simplicity unique was a particular goal. Along the way and through questioning and research, a richness was discovered in regards to the field of ceramics and a new direction emerged as a way to push this honours project forward and develop it into something that could garner the interest of a wider audience. The realm of digital technology in the field of ceramics was a new one, as well as an exciting one. This was not something that the project had originally intended to be looking at and I was not completely assured of this direction at first.
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However research into the possibilities and types of objects that can be created with the help of 3D printing was soon convincing enough to adopt this part of the field into the project. Blending the handcrafted elements which had been the original attraction to the field, with the future of technology became a focus of the research and it began expanding from there. Digging deeper into what made ceramics the craft it is and what the disconnect with this amazing technology was became a question that eventually drove the research from this point. The experience of researching and developing ideas in a field that is as exciting and rich as this one is something very special, and the chance of making a product or process that could potentially change how things are done or create a new way to see a certain process is truly something special. Reflecting on this body of work is a very important and valuable task. Looking at what I have achieved and what I could have done better always has its ups and downs in regard to judging myself as a designer and a person. When looking at the year, there will always be more work that I could have done, there would be times where I could put in more effort and times where I put things off.
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These are the things I need to be critical about and learn from as I move into the next phase of my life. However there are also so many things to be proud of, such as the work I have achieved. At the beginning of the year, this process seemed so daunting and large, it was a journey and I was right at the beginning of it staring out at its vast landscape of challenges and questions. The thought of even picking a topic to undertake for the whole year scared me for much of the 3rd year of this course. However through this semester, the process of constant research and development in such extreme detail has truly given me a completely new understanding of what design can be. Understanding something as deeply as I am learning to understand the field that I am doing is something that is truly special and important to me as I grow through this discipline. Realising and coming to terms with the extensive detail that is required to create an honours project is something that I didn’t necessarily underestimate, but it was something that I had not experienced. Through my previous 3 years, I have never had to search, look and go out of my way to find information and relevant
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studies or documents about a subject as much as I have had to at this point in time, it is an eyeopening experience and something that I will remember for a long time I can be certain of that. However being able to do so on a topic that truly interests me and gets me excited in the world of design makes it that much less of a chore and more of a challenge, a challenge to create, design, and discover a project that I will be truly proud of come the end of this year. Through this project I will be able to share my passion, develop it and create something that can propel me in the world of design and my own individual design experience. The project has been special, I never thought that I could be led in a direction where the possibility of creating a new way to do something lay at the end of it. The thought of being at the forefront of a field of design never crossed my mind, in my head I always felt on par or average with everything around me, but this experience has made me grow with a new outlook on what the world of design can be for me and that if you work hard and are passionate, anything you put your mind to can come to pass.
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glossary Craft Often defined as a practice that involves the creation of objects with highly skilled and practiced hands. Craft is often seen as a traditional practice that is well respected within the fields of design because of the skill that is required to create products to high standards by traditional methods. Craft objects are often unique and hold a special value to those who make them and those who view them because of the human aspects and the effort and work that goes into these products.
Computer Aided Design (CAD) Computer Aided Design or CAD for short is a term given to computer programs like Rhino or Solidworks. These are specialist computer programs that allow you to create objects both 2D and 3D within a virtual reality and are very useful within the world of design as these programs open up a new world of possibilities as they are the gate way to creative processes like 3D printing and Laser cutting. It’s an extremely common part of the design process these days and is something that most designers have as a skill within their practice.
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Ceramics Ceramics is the process of molding and creating objects from clay’s and then heating them within a kiln to fire them, making them strong and useful. It is an extremely well respected craftform within the creative world that dates back to ancient times such as Egypt and with objects being found as far back as 30,000 bce, it is clear to see that they are durable and impressive objects. Ceramics are often created to be useful objects such as pots and vase’s, but also they can be used to make artistic and creative objects that are without use.
Disruptive Digital Technology Disruptive technologies are those which alter or bring about a way to change the way systems and processes are carried out within an industry or field. Most common forms of these disruptive technologies are digital these days, things like 3D printing or Laser cutting allow for new ways to create and produce objects in a new way to traditional methods. These technologies often bring about a lot of discussion a long with new opportunities and possibilities because of their abilities.
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Survey Craftsman A Craftsman or Crafts-person is the title given to a person who’s practice or profession is a traditional Craft. These are the people who dedicate their lives to a specific process or craft, spending their lives to practice and perfect their craft, becoming respected members of the design world for their expertiese and ability. Richard Sennett suggests that “about ten thousand hours of experience are required to produce a master carpenter or musician.” This is an insight into the time it takes to become a true master of a Craft as well as showing why these peoples products are so often desired and respected.
A survey is a list of questions, usually with simple yes or no answers or a few multiple choice answers. It is similar to an interview but it is much less in depth because it is suited to larger audiences and is usually fairly quick to complete. Because of this, surveys are a very useful tool for getting a wide range of data from a large audience. This data can be very useful if you ask the right questions and can be a great launch pad for producing a product because you learn a lot about your target audience and it allows you to tailor the product to them.
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User Centered Design Wabi-Sabi Wabi-Sabi is the Japanese art of finding beauty in imperfection and profundity in nature, of accepting the natural cycle of growth, decay, and death. (T.Ando). A very beautiful concept that designers may not necessarily consider in a world where many things are made to be perfect and where many things are made to be disposed of. Finding the beauty in nature and finding the beauty in the life of a product and celebrating that it will not always be the way it was when it was new is an exciting and romantic idea in a sense. It is a way of looking at objects that comes very foreign to people these days but provides such strong narrative in a piece of design. If people grasp a narrative then they often become attached to the object. Designing in this way is exciting as it challenges the disposable culture we live in today.
User Centered Design is a form of design that takes into account the actions, behaviours and needs of a user. A user centered design process will aim to completely understand every facet of the subject in an attempt to create the best possible outcome for the user. It looks at things like erganomics, costs, materials and even things like what will happen to the product after it has been used and not needed anymore. Part of the user centered design process is considering the users ability to understand the product. Designers will, through this process, aim to create products that are intuitive to the user so that they know how to use the item without even reading an instruction manual.
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References Altman, I. & Low, S. (1992). Place attachment. Springer Us. Ando, Tadao. ‘What Is Wabi-Sabi?’. Nobleharbor.com. N.p., 2015. Web. 7 Oct. 2015. BBC,. (2016). Head to Head. Retrieved from http://www.bbc.co.uk/news/ magazine-29941354 Berman, B. (2012). 3-D printing: The new industrial revolution. Business Horizons, 55(2), 155162. http://dx.doi.org/10.1016/j. bushor.2011.11.003 Blackman, M., Stein, G., & Vandiver, P. (1993). The Standardization Hypothesis and Ceramic Mass Production: Technological, Compositional, and Metric Indexes of Craft Specialization at Tell Leilan, Syria. American Antiquity, 58(1), 6080. http://dx.doi.org/10.2307/281454
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Craft. (2016). Oxford Dictionaries. Retrieved from http://www. oxforddictionaries.com/definition/ english/craft GCODE.Clay | Emerging Objects. (2016). Emergingobjects.com. Retrieved 25 May 2016, from http:// www.emergingobjects.com/project/ gcode-clay/ Greffe, X. (2004). Artistic Jobs in the Digital Age. The Journal Of Arts Management, Law, And Society,34(1), 79-96. http://dx.doi.org/10.3200/ jaml.34.1.79-96 Herpt, O. (2014). Functional 3D Printed Ceramics - Olivier van Herpt. Oliviervanherpt.com. Retrieved 7 April 2016, from http:// oliviervanherpt.com/functional-3dprinted-ceramics/ Herpt, O. (2014). Solid Vibrations Olivier van Herpt. Oliviervanherpt. com. Retrieved 7 April 2016, from http://http://oliviervanherpt.com/ solid-vibrations/ Herpt, O. (2015). Solid Vibrations. Retrieved from http://oliviervanherpt. com/img/3d-printed-ceramic-soundvibration.jpg Hoskins, S. 3D printing for artists, designers and makers (p. Abstract). Bloomsbury.
How 3D printing is changing the arts and crafts world. (2016). Gadets 360. Retrieved from http://gadgets.ndtv. com/laptops/news/how-3d-printingis-changing-the-arts-and-craftsworld-367601 Juniper, A. (2003). Wabi sabi. Boston: Tuttle Pub. Landau, B. (2016). What is craft. Studio. Landau, B. (2015). 3D Printing Ceramics. Ben Landau. Retrieved 13 April 2016, from http://www. benlandau.com/3d-printing-ceramics/ Landau, B. (2015). 3D Printing Ceramics. Retrieved from http:// i0.wp.com/www.benlandau.com/wpcontent/uploads/2015/04/image_01. jpg Lange, A. (2014). 3D printers have a lot to learn from the sewing machine. Dezeen Daily. Retrieved from http://www.dezeen. com/2014/05/08/3d-printers-havea-lot-to-learn-from-the-sewingmachine/ Line & Form | Frances Priest. (2016). Francespriest.co.uk. Retrieved 3 April 2016, from http://www.francespriest. co.uk/work/exhibitions/line-form-2. html
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McCullough, M. (1996). Abstracting craft. Cambridge, Mass.: MIT Press. Metcalf, B. Contemporary Craft. Brucemetcalf.com. Retrieved 30 April 2016, from http://www.brucemetcalf. com/pages/essays/contemporary_craft. html Murray, K. (2016). Craft in Australia: let’s not forget the real value of handmade. Retrieved from http:// theconversation.com/craft-inaustralia-lets-not-forget-the-realvalue-of-the-handmade-42168
Shaw, M. (2015). Are 3D-Printed Ceramics the Future of Architecture?. Architizer. Retrieved 6 May 2016, from http://architizer.com/blog/data-clay/ Sudjic, D. (2009). The language of things. New York: W.W. Norton & Co. What is the role and value of crafts today?. (2016). British Museum. Retrieved from https://blog. britishmuseum.org/2011/08/17/whatis-the-role-and-value-of-crafts-today/
Papanek, V. (1972). Design for the real world. New York: Pantheon Books. Ratto, M. & Ree, R. (2012). Materializing information: 3D printing and social change. First Monday,17(7). http://dx.doi.org/10.5210/ fm.v17i7.3968 Scott, C. (2016). Dutch Artists Create 3D Printed Ceramics Using Sound Waves. 3DPrint.com. Retrieved 5 April 2016, from https://3dprint. com/119446/3d-printed-ceramicsound/ Sennett, R. (2008). The craftsman. New Haven: Yale University Press.
Grasshopper plug-in credits Twist & Taper function thanks to the Jackalope (Dale Fugier). http://www.food4rhino.com/app/ jackalope Camera control made possible by the Flounder Cam (Provolot). http://www.food4rhino.com/app/ flounder-camera-control
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Figure List All images have been taken by me and are my own unless stated otherwise. Fig 1 - Philip Stokes Studio Glass - Image by Jaki Pokrovski Fig 2 - 3D Ceramic Print vase - Ben Landau Website Fig 3 - Solid Vibration - Olivier Van Herpt Website Fig 4 - Idea Sketches Fig 5 - Clay Slip Fig 6 - Hand held extruder Fig 7 - Failed Prints Fig 8 - Initial coil pots Fig 9 - Control board sketches Fig 10 - Grasshopper algorithm Fig 11 - 3D prints from grasshopper
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