EMPOWERING THE 3D PRINTING COMMUNITY
EMERGING 3D PRINTING PROJECTS
2018
TRANSF OR M3D.COM
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A M O N T H LY M A G A Z I N E F E AT U R I N G TH E LATEST 3 D P RIN TIN G PROJECTS IN T ODAY’ S CREAT IVE WORL D.
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3 D P R I N T I N G P R O J E C T S T H AT H AV E A L R E A D Y H A P P E N E D I N T H E PA S T C O U P L E Y E A R S .
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VIEW 3D PRINTING PROJECTS IN A REAL TIME 3D EXPERIENCE.
3D PRINTING + AR
VIEW THE 3D MODEL WITH YOUR SMART PHONE 1/
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VISIT OUR 3D PRINTING POPUP KIOSKS
V I S I T W W W.T R A N S F O R M 3 D . C O M T O K N O W M O R E I N F O R M AT I O N .
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3D PRINTING ECOSYSTEM INSPIRE AND GETTING INSPIRED
"We aim at creating a 3D printing ecosystem for the general public, hobbyists and professionals to connect and collaborate."
Transform creates a 3D printing ecosystem for the general public, hobbyists and professionals to connect and collaborate. I hope this project can bridge the gap between the three distinct groups of people with varied 3D printing expertise. In this way, there will be more of the general public interested in learning more about 3D printing and seeing how this technology can change their lives. Also, more hobbyists will be able to print customized designs, and to utilize 3D printing to its full potential to transform passion into a profession, and more professionals can have an extended audience and market to promote their work. The 3D printing market is expected to be worth 32.78 billion by 2023 with a growth rate of 25.76%. The commercial and industrial application of 3D printing is already changing our lives by revolutionizing how products are manufactured and serviced, but the consumer applications are less mature with a low adoption rate. Consumers have still not begun to use 3D printing or realize the value and potential
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of 3D printing. I believe it is worthwhile to promote a creative and revolutionary mindset through 3D printing. With a sustainable 3D printing ecosystem, I hope there will be more people interested in learning more about 3D printing, trying to get their hands on 3D printing to create customized and valuable products, and realizing the potential of this technology. The Transform magazine creates a platform for professionals to promote their works. It explores how 3D printing is influencing people’s lives from various industries and applications. It includes the latest 3D printing news from art and consumer products, interior design and architecture, fashion and wearable tech, automotive and aerospace, medical and humanitarian aid, and graphic design. Enjoy and let’s connect with 3D printing.
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C ON T EN T S FEATURED
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Hannah Fink /
Iceberg is Gantri’s Newest Release
A RT A N D C ON SUMER PRO D UCT
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DUS Architects /
3D Printed Facade INTERIOR DESIGN AND
ARCHITECTURE
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Jun Kamei /
Amphibious Garment FASHION AND WEAR ABLE
TECHNOLOGY
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INDUSTRIES
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UAU project /
3D printing for use in home production A RT A N D CO NS UMER PRO D UCT
XEV /
XEV LSEV AUTOM OTIVE AND AERO S PACE
DUS Architects /
3D Printed Facade INTERIOR DESIGN AND
ARCHITECTURE
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Iris Van Herpen /
Iris Van Herpen at NYFW 2018 FASHION AND WEAR ABLE TECH
E-NABLE /
Enabling the Future MEDICAL AND H U M A N I TA R I A N A I D
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Coming Soon /
3D Printed Infographic GR AOHI C DES IG N AND PACKAG ING
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FEATURED
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HA N N A H FINK /
GANTRI’S NEW TABLE LIGHT
A R E A TA B L E L I G H T D E S I G N E D B Y H A N N A H F I N K .
Gantri is a San Francisco based company specialized in making high quality 3D printed lights to promote individual designers.
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Gantri is a designer-first manufacturer based in San Francisco. Using smarter design and advanced 3D printing technologies, they help designers worldwide turn ideas into high-quality design products. Iceberg is created using Gantri’s Table Lights Product System, which provides a standard set of components, resources and toolk it to help designer s develop high-quality products easily. Iceberg is inspired by the arctic, but it brings warmth to any room. Like an ice floe, it seems simple at first. Beneath the surface, its beauty expands. Its rocky shape gives off glowing gradients of light, and its geometric peaks double as spots to place a smart phone or tablet. Its part light, part sculpture, and all st yle. A Brooklyn-based ar tist, Hannah Fink’s designs are rooted in experimentation. She specializes in metalwork, while exploring new fabrication methods. Craftsmanship and the physicality
Category #new industry #product #entrepreneur #assembly free
of making help define her pieces, as the materials often demand their own form and personality. Her work exists somewhere between sculpture and furniture, incorporating the decorative arts in a functional manner. Fink has her B.A. in Environmental Studies from Vassar College and is currently pursuing her Master’s of Industrial Design from Pratt Institute. Iceberg was manufactured by Gantri in San Francisco. The body of the product is constructed with Gantri’s in-house 3D printing technologies and then carefully hand-finished by local craftsmen to achieve a smooth luxurious finish. High quality pre-engineered components are then assembled with the body and quality checked before they are delivered to customers.
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E V E R Y PA R T I S I N D I V I D U A L LY P R I N T E D AT T H E S TAT E - O F -T H E -A R T FA C I L I T Y I N T H E B AY A R E A .
The body of the product is constructed with Gantri’s in-house 3D printing technologies and then carefully hand-finished by local craftsmen to achieve a smooth luxurious finish.
[T H E O R I G I N A L A R T I C L E I S F R O M B E H A N C E B Y G A N T R I / ] H T T P S : // W W W . B E H A N C E . N E T/ G A L L E R Y/ 7 0 2 2 2 4 0 1 I C E B E R G - B Y- H A N N A H - F I N K
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T H E L A N D S C A P E TA B L E I S I N T H E ‘ I N N O VAT I O N L A B ’ A R E A , I T I S A S TAT E M E N T P I EC E T H AT C A N D O U B L E U P A S B O A R D R O O M O R R E A D I N G TA B L E .
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DUS ARCHITECTS /
GIVING UNIQUE FORMS TO FUNCTIONAL SPACES 3D printing is now making its way into interior design.
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The interior design of the new Loft Flagship store in Ginza, Tokyo marks DUS’ entrance to designing 3D printed solutions for private, public and commercial interior spaces. 3D printing allows for unparalleled design explorations: “We had the liberty to design without conventional restraints. For this design, we found great inspiration in Japanese folding and drawing techniques, which resulted in cyclic printed patterns with delicate harmonious changes.” Because of the digital design and production, the design process was quick and flexible. The one of a kind products where digitally shared and aligned with the client, and then 3D printed in their final form. A great advantage is the high level of sustainable production, as the prints are made with a bioplastic and there is hardly any waste in the process. Architect Jo Nagasaka of Schemata was responsible for the 3,306-square-meter overall interior design of the Loft Flagship store. He asked DUS to come up with “novel 3D printed furniture.” Clients Loft acknowledged the importance as a household name warehouse to always find new ways to distinguish themselves and show their products.
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DUS combined 3D prints with new materials influenced by traditional techniques, demonstrating that 3D printing is ready to enter the public domain.
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T H E W R I T I N G C O U N T E R S H O W C A S E S T H E P O S S I B I L I T I E S O F D I G I TA L FA B R I C AT I O N T O C R E AT E U N I Q U E M O M E N T S A D A P T E D T O T H E P R O D U C T.
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T H E TA B L E T O P A N D S T O O L- S U R FA C E S M E R G E 3 D P R I N T E D PAT T E R N S W I T H A C L A S S I C T E R R A Z Z O
[ T H E O R I G I N A L A R T I C L E I S F R O M A R C H D A I LY B Y L I D I J A G R O Z D A N I C / ] H T T P S : // W W W . A R C H D A I LY. C O M / 8 9 0 4 9 4 / I N T E R I O R - D E S I G N - A N D -3 D - P R I N T I N G - G I V I N G - U N I Q U E - F O R M S -T O - F U N C T I O N A L- S P A C E S
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Category #retail #environment #material
The Workshop Area creates an intimate playful setting to host workshops. It shows the unifying impact of a continuous 3D printed pattern in all the interior elements, from the terrazzo table top to the black epoxy stools and even the concrete floor, creating one harmonious setting. This project marks DUS’ entrance to designing 3D printed solutions for private, public and commercial interior spaces. All the elements and materials were developed and produced in close collaboration with Aectual, a company specialised in the production and development of 3D printed interior and building products.
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CATEGORY #open source #consumer #kitchenware
AMPHIBIOUS
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Category #experimental #interact #new industries
JUN KAMEI /
AMPHIBIOUS GARMENT
Amphibio is a 3D printed garment that lets you breathe underwater.
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A M P H I B I O I S M A D E O U T O F A S P EC I A L M AT E R I A L W H I C H S U P P O R T S U N D E R WAT E R B R E AT H I N G B Y R E P L E N I S H I N G O X Y G E N F R O M T H E S U R R O U N D I N G WAT E R A N D D I S S I PAT I N G C A R B O N D I O X I D E W H I C H A C C U M U L AT E S I N T H E S Y S T E M .
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Royal College of Art graduate Jun Kamei has built a garment that functions like gills, which could allow humans to survive when sea levels rise up and submerge the earth. Called Amphibio, the two-part 3D-printed accessory consists of a gill and a respiratory mask. It is designed to allow humans to completely breathe underwater. Kamei has built a working prototype of Amphibio. Although it currently doesn’t produce enough oxygen to sustain human breathing, it is able to successfully extract oxygen from water, and release carbon dioxide back in – meaning it has the potential to be used for breathing. The RCA graduate imagines it becoming an essential part of living in the future, when the ocean rises up and claims the majority of the earth’s land, and humans are forced to spend much of their lives in the water. “By 2100, a temperature rise of 3.2 degrees celsius is predicted to happen, causing a sea-level rise affecting between 500 million and three billion people, and submerging the megacities situated in the coastal areas,” he explained.
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Rather than focus on the negative, dystopian idea of a “flooded world”, Kamei’s proposal is intended to offer a comforting and optimistic vision of the future, where humans are free to live in the oceans as well as on land. He describes it as a place where humans can enjoy “a peaceful touristic dive in the neighboring church, or a night dive in the vivid streets”. He describes it as a place where humans can enjoy “a peaceful touristic dive in the neighboring church, or a night dive in the vivid streets”. A white device that is positioned around the neck and chest functions as the gill. It is hollow inside and contains air, which can be breathed in and out via the mask, connected to the gill by a tube. The gill accessory is 3D-printed from a microporous hydrophobic material, which supports subaquatic breathing by extracting oxygen from the surrounding water and dissipating the carbon dioxide that accumulates in the system. The microscopic pores in the material allow air to pass through, but stop any water from penetrating it. The technology was inspired by water-diving insects that survive underwater by way of a thin layer of trapped air on the surface of their super hydrophobic skin, which functions in the same manner as a gas-exchanging gill. Kamei developed a custom 3D-printing filament to produce this material. The designer suggested that, as 3D-printing technologies become more readily accessible, people could buy this filament and use to print garments that are uniquely tailored to their own body shape. The designer’s next step is to develop the device so that it can be tested on humans. It would require a gill of at least 32 square metres to support human oxygen consumption in water.
[T H E O R I G I N A L A R T I C L E I S F R O M D E Z E E N B Y N ATA S H A H H I T T I / ] W W W . D E Z E E N . C O M / 2 0 1 8 / 0 7/ 1 7/ A M P H I B I O - R C A - G R A D U AT E - J U N - K A M E I - B R E AT H I N G - U N D E R W AT E R /
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ART AND CONSUMER PRODUCTS The influence of 3D printing on art and consumer products.
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6 VA S E S I S A C O L L EC T I O N O F S I X E L EG A N T G EO M E T R I C A L VA S E S, D E S I G N E D & 3 D P R I N T E D I N WA R S AW B Y U A U P R O J EC T.
UAU Project shows what the desktop 3D printer is capable of.
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U A U P R O J E C T/
3D PRINTING FOR USE IN HOME PRODUCTION UAU Project’s main interest is exploring and experimenting with consumer oriented 3D printing for use in home production.
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The 3D files for the Table7 collection are available to download on the 3D printing marketplace Cults. The bowl set and toothpick holder are available for free, while the rest of the models cost $3.19. For the best looking results, the UAU Project recommends printing these models W hat makes the Table7 collec tion unique is the equal attention placed on both aesthetics and functionality. The simple, yet effective design creates a printable product that any decorative mind would be rather proud to put on display. Bu t mo s t impor t an t l y, this t able ware set is truly useful for everyday life. Whether you’re looking to have a romantic dinner by candlelight or crack a couple walnuts, the UAU Project is bringing that ability straight to your print bed. While they acknowledge that the 3D
imalistic collection includes a nutcracker, bowls, snack plate, candle holder, toothpick holder, sugar bowl, and also salt and pepper shakers. Each object has a minimalistic modern design that will have your friends asking you “is that from Ikea?”
printing revolution has yet to explode, the UAU Project has chosen to be proactive about this issue. By focusing on functionality, the design team is truly showing what the desktop 3D printer is capable of.
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TA B L E 7 C O L L E C T I O N , A S E T O F S E V E N 3 D P R I N TA B L E TA B L E WA R E P R O D U C T S D E S I G N E D T O BE PRINTED ON THE DESK TOP MACHINE.
The Polish design studio UAU Pr oject brings beautiful and useful 3D printed tableware to your home with the “Table7” collection. As 3D printing technology continues to advance, consumers are suddenly finding the ability to manufacture their own products. While desktop 3D printing certainly has its limitations, there are plenty of useful objects that can be created right at home. The Polish multidisciplinary design studio UAU Project has pushed this movement with their tastefully crafted products. From their Grow plant system to self-made furniture, the design collective has shown just how useful the desktop 3D printer can truly be. Now, the studio has unveiled the Table7 collection, a set of seven 3D printable tableware products designed to be printed on the desktop machine. This min-
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N E P T U N E L A M P, A 3 D P R I N T E D L A M P, W I T H T H R E E D I F F E R E N T S H A D E O P T I O N S , D E S I G N E D T O W O R K W I T H A N I K E A C O R D S E T.
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SPIN&REL A X IS A SET OF THREE MINIMALISTIC SPINNING TOPS WITH A SIMPLE BASE TO HOLD THEM ON WHILE THEY ARE RESTING. ALL 3D PRINTED WITH PL A.
[T H E O R I G I N A L A R T I C L E I S F R O M A L L 3 D P B Y T Y L E R K O S L O W / ] H T T P S : //A L L 3 D P. C O M / P R I N T- U S E F U L-TA B L E W A R E - U A U - P R O J E C T S -TA B L E 7 - C O L L E C T I O N /
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Category #open source #consumer #tabletop
By focusing on functionality, the design team is truly showing what the desktop 3D printer is capable of.
S P I N & R E L A X WA S S E L EC T E D B Y M E T R O P O L I S M A G A Z I N E F O R I T S G I F T GU I D E .
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INTERIOR DESIGN AND ARCHITECTURE 3D printing is shaping the way we build house with a fraction of cost.
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A FA Ç A D E D E S I G N U S I N G L A R G E -S C A L E 3 D P R I N T E D E L E M E N T S .
Sustainable, on demand and made-to-measure buildings.
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I T I S T H E F I R S T T I M E I N T H E W O R L D T H AT T H E S E K I N D S O F X X L 3 D P R I N T S A R E S H O W N I N T H E P U B L I C D O M A I N .
CATEGORY #outdoor #large scale #recyclable
DUS ARCHITECTS /
3D PRINTED FACADE Dutch EU building features a facade combining tensile fabric and 3D printed bioplastic together.
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DUS Architects has combined 3D-printed bioplastic with a tensile fabric structure to create a sculptural facade for the building where European Union meetings will take place over the next six months. This temporary structure was built to host the presidency meetings of the EU Council during its six-month period in the Netherlands, before it moves on to Slovakia for the second half of the year. This prompted DUS Architects to create a facade that can be recycled. Tensile fabric structures are commonly used for temporary structures, so the team decided to combine this with their recent research in bio-based 3D-printing filament. "We’re collaborating with Henkel, a global multinational that does innovative
work with materials, and we’re investigating the possibilities to create new printed bio-based printing materials," explained s t udio co -f ounder Hed w ig Heinsman. "We’ve developed a special plastic that is entirely bio based, made out of linseed oil," she told Dezeen." The advantage of this material is not only that it is made out of plants, but that it can be shredded and reused in the print cycle." The fabric structure provides the main shape of the facade – a series of vertical panels that appear to have been lifted up at the base to create triangular openings reminiscent of tent entrances.
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[T H E O R I G I N A L A R T I C L E I S F R O M D E Z E E N B Y A M Y F R E A R S O N / ] W W W.DE Z EEN.C OM / 2 016 / 01 / 12 / E U R O P E A N - U N I O N -3 D - P R I N T E D - F A C A D E - D U S - A R C H I T E C T S - H O L L A N D /
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The intention was for these forms to reference the sailing ships that were historically built in this area. Within these openings, faceted blue surfaces extends out to create benches. These elements were all created using one of two 3D printers involved in the construction of the canal house. This is the first time in the world that these kinds of “XXL 3D prints” are being shown in the public domain, according to DUS Architects. They were created using fused deposition modeling, the same form of additive manufacturing used by most household 3D printers. “The FDM technique is the most common way of producing small objects, but what we’ve done is scaled up this technique for much larger elements,” explained Heinsman. “We can create elements up to five meters high, two meters wide, and two meters deep” she said. The Mobile Europe Building was completed in collaboration with building company Heijmans, which is also involved in Daan Roosegaarde’s Smart Highway project and an initiative to build prefabricated starter homes. Other collaborators were parametric developer Actual, temporary structure specialist Neptunus, engineer TenTech and lighting consultant Philips. It is the first commercial project resulting from the development of the 3D Print Canal House, which is now well underway. Rather than being used as a residence, this building will serve as a “global flagship warehouse” for 3D-printed
The bright and distinct EU-blue colored 3D-printed benches are made with a bio-plastic. The printed elements are designed in a way they can be easily removed, shredded and reprinted after the presidency is over.
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FASHION AND WEARABLE TECH The rise of 3D printing in fashion and wearable technology.
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R E M I N G T O N W I L L I A M S I N I R I S VA N H E R P E N ‘ L U D I N AT U R A E ’ F O R V O GU E I TA L I A , S H O T B Y S T E V E N M E I S E L , S T Y L E D B Y J O E M C K E N N A .
Iris Van Herpen: unprecedented designs.
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I R I S VA N H E R P E N /
IRIS VAN HERPEN AT NYFW 2018 3D printed dress from Iris van Herpen pushes boundaries of fashion.
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CATEGORY #wearables #complexity #materials
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Too many people believe that art and science exist as polar opposites and have delineated the disciplines as existing in an irreconcilable dichotomy that acts to drive the two types of knowledge apart. This conceptualization of the knowledge cultures is akin to placing two magnets next to each other such that their same poles when aligned repel each other: it foolishly denies the absolute attraction that exists when you simply flip one magnet the other way. Centuries ago, this attraction between art and science was understood as a given. The most easily identifiable product of this was a person such as Leonard da Vinci, whose work didn’t move back and forth between science and art, but rather understood the two as inextricably interwoven. In the wor ld of 3D pr inting, ther e appears to be developing an understanding that the bubbles of art and science are actually simply contorted ways of viewing a larger field of human knowledge. Dutch designer Iris van Herpen likes to play in the field and apply her understanding to the creation of fashion collections. Her pieces are explorations that encourage collaborative efforts because of the breadth of expertise in a wide variety of fields needed to create the pieces she has in mind.
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T H E FA B R I C S A R E R E M I N I S C E N T O F T H E S U B T L E S T R U C T U R A L B E A U T Y I N T H E W I N G S O F A D R A G O N F LY O R T H E F E AT H E R S O N T H E B R E A S T O F A M O T T L E D D U C K .
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created in 30 x 30 cm patches that were then sewn together into a single piece. The 3D printing took the team 260 hours to complete and the handwork required to complete the garment added another 60 hours of work to the time needed to create the perfect ideal dress. For t he de sign o f t his piec e, v an Her pen w or ked w i t h scien t is t s f r om T U Delf t , Jouke Ver linden and Z jenja
Doubrovski, as well as a 3D printing expert, Drim Stokhuijzen from Design United, and an industrial design engineering student, Noor Aberle. This garment pushed the limits of what has been done with 3D printing in terms of the fabrication of garments. As TU Delft scientist Verlinden stated:“ During the printing process, ultraviolet light was used to cure the structures, making them set‌
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She has continued to impress the world with her scientific creativity with a dress produced as part of her Ludi Naturae collection. The dress was fabricated using thermosetting polymers extruded by a 3D printer that were then exposed to ultraviolet light to set, and tulle fabric that was inserted into the printer bed during the 3D printing process. The dress could not be printed in a single pass, but was instead
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[T H E O R I G I N A L A R T I C L E I S F R O M 3 D P R I N T B Y H A N N A H R O S E M E N D O Z A / ] W W W . 3 D P R I N T. C O M / 2 0 1 7 74 / 3 D - P R I N T E D - D R E S S - I R I S - VA N - H E R P E N /
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Before this, no one had succeeded in effectively combining plastic with dif ferent properties with textile and we’re very much proud of what we’ve achieved. Normally, you would start with a design. But with a project like this, you take a new production method and see what’s possible. It’s venturing into uncharted territory.” The entire collection is exquisite; the way in which the fabrics drape combined with the patterns, both two and three dimensional, are reminiscent of the subtle structural beauty in the wings of a dragonfly or the feathers on the breast of a mottled duck, shimmering and natural while precise and geometric. Van Herpen has taken the play of Georgia O’Keefe and the structure of a fossil to create a dress using the world’s most advanced fabrication technology. As Verlinden described: “Like a concept car, the dress is not intended for day-to-day use or mass production, but it definitely presents a vision. It also makes it possible to experiment with new possibilities, such as those provided by 3D printing.”
Traditional weaving techniques are combined with high-tech digital fabrication, resulting in a series of garments featuring complex parametric patterns.
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AUTOMOTIVE AND AEROSPACE Saving big bucks in the automotive industry with 3D printing.
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L O U T I K , T H E F O U N D E R O F X E V L I M I T E D, S A I D I T TA K E S A S F E W A S T H R E E D AY S T O P R I N T O N E L S E V.
Mass-producible 3D printed electric car.
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CATEGORY #machines #sustainable #customization
XEV /
XEV LSEV LSEV 3D printed electric car costs just $7,500. How is that possible?
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[ T HE OR IGIN A L A R T IC L E I S F ROM DE SIGNBOOM B Y Z A C H A NDR E W S /] W W W . D E S I G N B O O M . C O M / T E C H N O L O G Y/ L S E V -3 D - P R I N T E D - E L E C T R I C - C A R -X E V - P O LY M A K E R - 0 3 - 2 2 - 2 0 1 8 /
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The transportation industry is certainly in a state of disruption. Amidst this disruption — LSEV from XEV is an affordable solution for city drivers.
3D printing has just allowed a car company (XEV) and a printing company (polymaker) to manufacture an electric car, LSEV, for $7,500 USD. by 3D printing the city-ready vehicle, XEV and polymaker have knocked the amount of individual plastic components down from the typically-used 2,000 to, oh, 57 parts — excluding mirrors, lights, chassis and such. ‘XEV is the first real mass production project using 3D printing. by saying real, I mean there are also lots of other companies using 3D printing for production.
Polymaker developed dozens of kinds of engineering plastics for XEV to meet their needs of practical applications. As a result, 3 crucial achievements have been accomplished. XEV has decreased the plastic parts and number of components in a car from more than 2,000 to 57, and the finished LSEV weighs only 450 kilograms, much lower than similar sized vehicles usually weighing between 1 and 1.2 metric tons. Apart from the chassis, seats and glass, all the visible parts of the car are made by Polymaker materials through 3D
but nothing can really compare with XEV in terms of the size, the scale, and the intensity,’ said, dr. luo xiaofan, co-founder and CEO of polymaker. the transportation industry is certainly in a state of disruption. amidst this disruption — LSEV is an affordable solution for city drivers. its top speed is 43 miles per hour. it covers a range of 93 miles per charge. LSEV has already received 7,000 orders.
printing. This switch of production leads to more than 70 percent reduction of the investment cost in comparison with a traditional production system. Conventionally the R&D process of a car model takes about 3-5 years, but it only takes XEV 3-12 months to finish a new design.
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A I S PA C E FA C T O R Y ’ S H A B I TAT I S B U I LT F R O M A M AT E R I A L C O M P O S E D O F A M I X T U R E O F B A S A LT F I B R E E X T R A C T E D F R O M M A R T I A N R O C K , A N D R E N E WA B L E B I O P L A S T I C D E R I V E D F R O M P L A N T S .
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ZOPHERUS & A I SPACEFAC TORY /
3D PRINTED HABITAT FOR MARS NASA announces winners to design 3D printed habitats for Mars.
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E A C H Z O P H E R U S H A B I TAT I S 3 D P R I N T E D U S I N G A M I X T U R E O F I C E , C A L C I U M O X I D E A N D M A R T I A N A G G R EG AT E .
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T H E W I N N I N G Z O P H E R U S H A B I TAT I S B U I LT F R O M M AT E R I A L S TA K E N F R O M T H E M A R T I A N S U R FA C E .
NASA has selected the five winning designs in the latest stage of its 3D-printed Habitat competition, which include a community of modular pods made from the Martian surface, and a vertical egg-like container. The On-Site Habitat Competition invited groups to design a sustainable shelter for a crew of four astronauts on a mission to Mars, using construction techniques enabled by 3D printing technology. Teams had to come up with a solution that tackles the issues of transporting materials from Earth to Mars, as well as the differences in atmosphere and landscape on the new planet. Each was required to create digital representations of the physical and functional characteristics of a house on Mars using specialised software tools. “ We are thrilled to see the success of this diverse group of teams that have
competition moves forward.” The top f ive teams wer e selected by N A S A in par tner ship w ith Br adley Universit y of Peoria, Illinois, out of 18 groups from around the globe. Ranked using a points system, they will all share part of a $100,000 prize depending on what score they achieved. Arkansas-based team Zopherus was awar ded f ir st place w ith its modular habitat for humans on Mars, 3D-printed without human interference with materials made from the Martian surface. In the concept, a lander would scan its surroundings and select an optimum print area, while autonomous robots are deployed from the vessel to gather materials for the 3D printer. The lander seals to the ground to provide a protected, pressurised print environment, and then mixes
approached this competition in their own unique styles,” said Monsi Roman, programme manager for NASA’s series of Centennial Challenges. “ They are not just designing structures, they are designing habitats that will allow our space explorers to live and work on other planets. We are very excited to see their designs come to life as the
materials, and begins to print the hexagonal structure.
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Phase one, the Design Competition, took place in 2015 and required teams t o s u bmi t ar c hi t e c t ur al r en der in g s . Submissions included Foster + Partners’ proposal for a 93-square-metre habitat printed from regolith, the loose soil and
Like the Zopherus habitat, the Marsha design is made using materials harvested from the Martian surface, removing the dependenc y on r ocke t s to t r anspor t materials from Earth. The team developed an innovati ve mix tur e of basalt fibre, extracted from Martian rock, and renewable bioplastic (polylactic acid) derived from plants that would be grown on Mars.Unlike the communal format of the Zopherus habitats, each Marsha habitat stands alone as a separate structure. The On-Site Habitat Competition is the third phase in NASA’s 3D-Printed Habitat Centennial Challenge, which was created to explore construction technologies needed to create sustainable housing solutions on Earth, the Moon, Mars and beyond.
rocks found on the surface of the Red Planet. Phase two, the Structural Member Competition, took place in 2016-2017 and focused on material technologies, asking teams to create structural components. There are still four more phases of the challenge to follow, culminating in a headto-head print of finalists’ designs in early 2019.
A I S PA C E FA C T O R Y ’ S H A B I TAT B O A S T S A N E G G - S H A P E D D E S I G N T O D E A L W I T H AT M O S P H E R I C P R E S S U R E .
AI SpaceFactory came in second place with its vertical, egg-shaped structure, which is designed with a double shell system to deal with the internal atmospheric pressure and structural stresses that would occur on Mars.
[T H E O R I G I N A L A R T I C L E I S F R O M D E Z E E N B Y N ATA S H A H H I T T I / ] W W W . D E Z E E N . C O M / 2 0 1 8 / 0 7/ 2 7/ N A S A - A N N O U N C E S - W I N N E R S -3 D - H A B I TAT- C E N T E N N I A L- C H A L L E N G E - C O M P E T I T I O N - P R I N T E D - H A B I TAT- M A R S /
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CATEGORY #material #architecture #machines
AI SpaceFactory came in second place with its vertical, egg-shaped structure.
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MEDICAL AND HUMANITARIAN AID 3D printing? Isn’t that just for making useless crap for fun?
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A G L O B A L N E T W O R K O F PA S S I O N AT E V O L U N T E E R S U S I N G 3 D P R I N T I N G T O G I V E T H E W O R L D A “ H E L P I N G H A N D .”
The 3D printed prosthetic revolution.
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E-NABLE /
CATEGORY #customization #wearables #body topology
ENABLING THE FUTURE
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There’s a critical need for practical, easy-to-replace, customized, aesthetically appealing, and low-cost prosthetic devices for children.
Due to a birth defect, 8-year-old Aidan was born without fingers on his left hand. Growing up, he couldn’t grip things unless he used his “nubby” hand to hold them against his body. At home, Aidan’s lack of fingers didn’t bother him. But in public, he rolled down his sleeve to hide his arm or pretended he didn’t have an arm at all. Aidan’s parents understood he was self-conscious but there didn’t seem to be any viable alternatives to assist their son. A prosthetic hand would cost thousands of dollars. A surgical procedure could add a finger but one of Aidan’s toes would need to be removed to do so. “Neither was something we were interested in,” said Aidan’s father, Andrew Delisle. Then in February 2017, Delisle read about a prosthetic hand made on a 3-D printer. Through an online communit y called e-NABLE, he found someone near their home in Rockford, MI, who not only
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owned a 3-D printer but wanted to print, fit, and assemble a hand for Aidan — for free. Delisle shared measurements of Aidan’s wrist and hand. Aidan shared his request that his new hand be in Jango Fett (the “Star Wars” bounty hunter) colors: royal and ocean blue. Three days later, it was time for the fitting. “It was a magical moment,” said Delisle. (Right down to the surprise detail of a Jango Fett helmet on the prosthetic palm.) This new hand, said Delisle, “allowed Aidan to talk to other children about his limb difference. It was an easy way to get kids interested without any negativity. Instead of, ‘Ew what’s wrong with your hand?’... it’s more like... ‘ Wow! Is that a robot hand?!’”
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Collaboration is the reason for e-NABLE’s success, and it’s been a part of the organization’s foundation from the beginning. Jen Owen is the founder of Enablingthefuture.org, an informational hub that shares information developed by the global e-NABLE community. But back in 2012, Jen (who’s also an artist) said she and her husband at the time, Ivan Owen (a puppet and prop maker), were “two nerds who spent our days letting our imaginations take us to find new adventures in life.” They dressed up in cosplay costumes, ran around in superhero outfits, and made “weird” inventions with their kids. On an outing to a steampunk convention, Ivan created a giant metal puppet hand as part of his costume. It garnered rave reviews at the event, so once the couple returned to their home near Seattle, Ivan posted a short video on YouTube. A carpenter in South Africa who’d lost the fingers on his dominant hand in a woodworking accident saw the video and contacted Ivan. “Richard was unable to find any replacement prosthetic fingers for himself that didn’t cost at least $10,000,” Jen recalled. He asked Ivan to collaborate on a design for one finger.
Collaboration is the reason for e-NABLE’s success, and it’s been a part of the organization’s foundation from the beginning.
E I G H T-Y E A R O L D L U K E I S A B L E T O P L AY O U T S I D E U S I N G H I S E - N A B L E H A N D .
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The two spent almost a year working via Skype and email to come up with various prototypes. Jen started blogging about their collaboration, which led to a request from a mother in South Africa: Could they
“Robohand” hit the Internet, “the response was quite positive,” Ivan said. “Many people responded by asking how they could get involved and assist.” Schull knew. After watching the video and reading the
also build a hand for her 5-year-old son, Liam, who was born without fingers? Ivan took the design for his steampunk hand and made four tiny metal fingers. Then, he flew to South Africa so he and Richard could make the little boy a hand. When it took them all day to assemble — and after they realized Liam would quickly outgrow it — Ivan began researching 3-D printing. That way, a design could be scaled up as Liam grew, not to mention printed out in a matter of hours. Instead of patenting that design, Ivan put it into the public domain so others could use it and build on the design. When a video of Liam and Richard’s
comments, he left his own comment. In it, he invited others who owned 3-D printers or who needed prosthetics to put pins in a map so they could find one another and suggested forming a Google + community. Within the year, e-NABLE had 3,000 members.
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That way, a design could be scaled up as Liam grew, not to mention printed out in a matter of hours.
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We want to offer the makers of the world a 3D printer filament that is fully recycled, with a quality that is comparable or exceeds premium non-recycled filaments.
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COOLREC & REFIL /
3D PRINTER FILAMENT MADE FROM RECYCLED FRIDGES
H I P S ( H I G H I M PA C T P O LY S T Y R E N E P L A S T I C) I S A H I G H Q U A L I T Y, D I S S O LVA B L E 3 D P R I N T I N G F I L A M E N T M A D E F R O M T H E P L A S T I C S F R O M O L D R E F R I G E R AT O R S .
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[T H E O R I G I N A L A R T I C L E I S F R O M 3 D E R S B Y G R I J S / ] W W W . 3 D E R S . O R G /A R T I C L E S / 2 0 1 8 1 0 1 7 - C O O L R E C - A N D - R E F I L- L A U N C H H I P S -3 D - P R I N T E R - F I L A M E N T- M A D E - F R O M - R E C Y C L E D - F R I D G E S . H T M L
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A R O L L O F B L A C K R EC Y C L E D F I L A M E N T F R E S H O F F A C A R D B O A R D S P O O L .
CATEGORY #recycle #material #kitchenware
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Casper van der Meer, ceo Refil. “Making recycled filament may seem easy, but getting a steady supply chain and maintaining a high quality over different batches is a real challenge. This is why it took us several years of development to be able to guarantee the quality of HIPS. Together with Coolrec we’ve successfully managed to realise this.” Arjen Wittekoek, Director of Coolrec: “Discarded appliances are made from and still contain many valuable materials. Using innovative techniques, Coolrec is able to recover the plastics from the discarded fridges and reuse it in the manufacturing process of new products, such as 3D printing filament. For us developing HIPS and the collaboration with Refil is another way to protect the world against pollution, preserve finite resources and enable our partners to achieve their sustainability targets. For this reason we are very proud to be involved in this circular collaboration.” The HIPS filament comes in the two standard diameters of 2.85mm and 1.75mm and has successfully been tested on many 3D printers, according to Refil and Coolrec. To prevent waste, the filament will be delivered on a unique fully recyclable cardboard spool. The Recycled HIPS filament from refrigerators is priced at €34 / spool incl. VAT. Refil and Coolrec are also working on a black filament of the same kind of plastic but in this case made from old televisions. It’s expected to be available in the beginning of the year 2019. T H E H I P S F I L A M E N T C O M E S I N T H E T W O S TA N D A R D D I A M E T E R S .
Coolrec, a subsidiar y of International waste recycling company Renewi, is partnering with Ref il to launch HIPS (High Impact PolyStyrene plastic), a high quality, dissolvable 3D printing filament made from the plastics from old refrigerators. HIPS 3D printer filament is a synthetic copolymer that is strong, durable, nontoxic and recyclable. HIPS is frequently used as support material, and can be dissolved in d-Limonene, leaving your print free of any markings caused by support removal. HIPS is neutral in colour and easy to paint or glue. It is slightly lighter than ABS, making it a great choice for parts that can benefit from the lighter weight, such as toys, appliances, product packaging and cases. Coolrec is specialized in recycling of WEEE (Waste or Electrical and Electronic Equipment) into high-quality recovered plastics, metals and other secondary raw materials. The recycling process is carried out at Coolrec’s factory in Dordrecht, the Netherlands, where the recycler has a specially equipped processing line for large domestic appliances. According to a press release, Coolrec also optimise the HIPS filament for 3D printing by eliminating warping and shrinkage. After their first recycled PET, ABS and PLA filament the Dutch company Refil is adding HIPS to their product overview for the growing 3D printing market. From the beginning, their goal has been to replace existing, environmentally destructive plastic filaments, by offering an environmentally friendly product of equal calibre. The collaboration between Refil and Coolrec is a good example of two companies on the fore front of plastic recycling working together in their own field of expertise. “ W her eas Coolr ec is all about the r ecycling of electrical and electr onic equipment, Refil transforms the acquired plastics into 3D printing f ilament and makes it available around the world,” says
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GRAPHIC DESIGN AND PACKAGING 3D printing is influencing the way graphic designers work.
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T H E I N F O G R A P H I C P R O J EC T C O N S I S T S O F E I G H T I M A G E S, S H O W N H E R E I S T H E P I E C H A R T.
The 3D printed infographics.
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CATEGORY #graphic design #experimental #tangible
COMING SOON /
3D PRINTED INFOGRAPHICS
Char ts and graphs, though necessar y in many business meetings, do not really convey any notions of fun or excitement. In order to liven up their own business data and statistics, and to show what fun can actually be had with infographics, Belgian biopharmaceutical company Ablynx enlisted the help of local creative branding studio Coming Soon. The result of the collaboration is a series of inspired and amusing 3D printed infographics that would make just about anyone want to pay attention to Ablynx’s annual report. The infographic project consists of eight images, each showcasing the digitally drawn graphs or charts as well as their 3D printed counterparts. The latter include 3D printed pie charts, line graphs, and bar graphs. Additionally, each of the 3D printed infographics is composed in such a way that not only communicates the data and statistics, but also a playful and engaging approach to presenting a report. As you’ll notice from the photos, the design team at Coming Soon, made up of creative director Jim van Raembonck, art director Phoebe De Corte, designer Dries Caekebeke, and 3D printing expert Kobe Mertens, also decided to add small miniature figures to the 3D printed charts and tables, effectively making the graphs a sort of playground for the tiny figurines.
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C R E AT I V E D I R EC T O R : J I M VA N R A E M D O N C K , A R T D I R EC T O R : P H O E B E D E C O R T E , J I M VA N R A E M D O N C K , 3 D P R I N T I N G : KO B E M E R T E N S .
3 D P R I N T E D P I E C H A R T S, L I N E G R A P H S, A N D B A R G R A P H S W I T H T H E S M A L L F I GU R I N E S .
[T H E O R I G I N A L A R T I C L E I S F R O M 3 D E R S B Y T E S S / ] W W W . 3 D E R S . O R G /A R T I C L E S / 2 0 1 6 0 4 1 4 -3 D - P R I N T E D - I N F O G R A P H I C S - A D D - A -T O U C H - O F - P L AYF U L N E S S -T O - C O M P A N Y S - A N N U A L- R E P O R T.
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In the spread which details Ablynx’s overall performance through a line graph, tiny mountain climbers scale the jagged orange 3D printed graph; to illustrate cash income and expenses a small child swings from a blue green and yellow bar and line graph; and the breakdown of the share capital spread, for its part, displays two figurines ascending a spiral staircase 3D printed pie chart. While incredibly amusing, the 3D printed charts and graphs also accurately convey the company’s numbers and statistical information, therefore
relaying actual information through a fun visual means. To delve further into the statistical information, the companies have also included digital graphics to accompany the 3D printed ones, as well as a comprehensive digital graph alongside them. According to Coming Soon, the pieces for the project took them two entire weeks to 3D print, and the effort seems to have been well worth it. The Belgian creative design company has worked with infographics before, having designed and created a series of giant infographics for
Ablynx in the past. Though evidently a more costly and time consuming process than simply printing out graphs on paper, we can’t help but hope more companies will follow Albynx’s lead and get inspired to add some fun and originality to their annual reports and statistics.
While being incredibly amusing, the 3D printed charts and graphics also accurately convey the company’s numbers and statistical information.
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CLOSE-UP OF ID BADGES WITH PERSONALIZED INITIALS.
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RUI HE /
CONFERENCE DESIGN COMBINING 3D PRINTING A series of conference materials for a 3D printing conference.
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VIP AND GENER AL ADMISSION TICKETS WITH PERSONALIZED KEY CHAINS EMBEDDED WITH ID CHIPS FOR EASY ACCESS TO THE CONFERENCE.
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A hypothetical 3D printing conference is designed to connect professionals with the general public and hobbyists, and to promote the professionals’ work. In order to show the full potential of 3D printing in this conference, there will be talks from professionals working in different industries giving the latest 3D printing news. There will also be workshops targeted for people with different expertise, 3D printing exhibitions, and 3D printed food tasting. The conference materials include customized ID badges with initials for every participant, tickets with personalized key chains for VIPs and general admission. And for those who purchase the VIP tickets, they will receive the VIP schedule in addition to the regular print schedule. The packaging for the VIP schedule can turn into a vase as its second life. Overall the purpose of this conference is to promote the professionals’ work and to inspire and connect with the general public and the hobbyists. The conference materials are designed to show the possibility and creativity of 3D printing.
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Category #creative #design #experimental
[EVERY THING IN THIS ARTICLE IS DESIGNED BY RUI HE/] V I S I T W W W .T R A N S F O R M 3 D . I N F O T O S E E M O R E D E TA I L E D I N F O R M AT I O N
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T O S EE M O R E A B OU T T R A N S F O R M A N D W H AT W E D O T O C R E AT E A 3 D P R I N T I N G EC O S Y S T EM, P L E A S E V I S I T O U R W EB S I T E W W W.T R A N S F O R M 3 D.C O M /
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