TCT Europe 29.4 by TCT Magazine

3D Systems breaks the mould on plastic AM production.

EUROPE EDITION VOLUME 29 ISSUE 4

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REDEFINING PRODUCTION Heavy industry Shell, Aidro & GE talk additive

culture

diversity

Digital technologies in cultural heritage

The story of the original women in 3D printing

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EDITORIAL

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from the editor

FROM THE EDITOR SAM DAVIES

You can’t be what you can’t see

Increasingly, typing those seven words into your preferred search engine is returning more and more results. There are opinion pieces titled with the phrase, books and TEDx Talks too. And it’s a point being applied in several industries, from politics to the media to STEM. Though the phrase may be at risk of becoming cliché, it contains an abundance of truth for so many women, people of colour and other typically underrepresented demographics in a range of environments. Through the work of groups like Women in 3D Printing, the myriad of articles that have carried the discourse in this publication and others, and the discussions at industry events, it won’t have escaped your notice that the additive manufacturing (AM) industry – like many others – isn’t as diverse as it might be. This edition of the magazine, while focusing on AM in heavy industry, looking at cultural applications of the technology and honing in on colour 3D printing, also highlights diversity as an ‘industry challenge’. Previous editions have featured ‘business case justification’ and ‘standards’ as industry challenges, while future editions will look at ‘sustainability’ and ‘education’. We feel as though diversity is of equal importance in this space as all of those other issues.

Under the diversity banner within this magazine, MakerBot’s Manager of People and Culture Mina Lee does a great job of spelling out why that is, citing some worrying statistics relating to the number of women who leave STEM sectors after five years and pointing out that only around

one in ten of us working in AM are female. She also goes on to outline how companies can do more to retain women and people of colour, emphasising the importance of cultivating a sense of belonging for all. In a single company, she writes, that responsibility falls to the people at the top. But in an industry, it’s on all of us. Over the next 35 pages, you’ll be able to read about Shell’s application of AM, led by 3D Printing Technology Manager Angeline Goh (Page 12); the impact of Valeria Tirelli’s decision to integrate the technology into Aidro Hydraulics’ production methods (P15); and how Edwell John Jr, a Tlingit clan leader, is bringing together Native Americans, museums and the latest technologies to facilitate repatriation efforts (P22). We’ve also been speaking to several women who have been working in additive since the early days (P30); and there’s many more diverse voices across the rest of this mag’s heavy industry, design AM and culture content. In Mina Lee’s column, she emphasises the importance of embracing difference, and the people who have contributed their voices to this magazine are testament to why that’s a good idea. If the environment is inclusive, talent will come. If talent is comfortable, then it can prosper. If the AM industry is diverse, then it has a much better chance – now and in the future – of breaking down the barriers of those other industry challenges.

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28 29 30 SEPTEMBER 2021 NEC, Birmingham, UK

Evaluate, Adopt, Optimise… Analyse the opportunity Discover your application Learn from user success stories Understand capabilities and limitations Choose the right solution Optimise existing technology Consider enterprise adoption Ensure return on investment

With more than 80 speakers and 250 exhibitors, discover your additive strategy at TCT 3Sixty.

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Co-located Shows

VOLUME 29 ISSUE 4

COVER STORY

8 11

08. REDEFINING PRODUCTION

3D Systems highlights the progress being made with AM applications thanks to productiongrade resins.

NEWS

The latest additive manufacturing industry developments.

12. SHELL, SPARE PARTS AND SUPPLY CHAIN

Shell’s Angeline Goh shares thoughts on the energy company’s use of AM.

15. EMBRACING CHANGE

Aidro Hydraulics CEO Valeria Tirelli discusses the company’s pioneering efforts with AM in the hydraulics sector.

17. ‘CRISIS IS AN OPPORTUNITY’

GE Additive and GE Aviation discuss the additive manufacture of like-for-like turbine components.

DESIGN AM

18. SETTING THE TONE

We take a look at developments in full-colour 3D printing.

CULTURE

22. REPATRIATIONS & RESTORATIONS

Senior Content Producer Sam Davies talks to museums, researchers and Native American clan leaders about the use of digital technologies in cultural heritage.

27. SMOOTH SAILING

11. ADDITIVE INSIGHT ROUND-UP

HEAVY INDUSTRY

How 3D technologies are being used in the conservation of the oldest known colonial Australian-built boat ever to be excavated.

DIVERSITY

28. INTENTIONAL INCLUSION

MakerBot’s Mina Lee outlines how AM companies can develop a more inclusive and diverse workplace.

30. THE ORIGINAL WOMEN OF 3D Laura speaks to several women who were developing technologies and using machines in AM's early days.

TCT 3SIXTY PREVIEW

33. A 360-DEGREE VIEW

We preview the must-see exhibits and conference highlights at the UK's leading additive event: TCT 3Sixty.

Expert Column

38. STANDARDS DEVELOPMENT IS AN ACQUIRED TASTE ASTM’s Mohsen Seifi provides his insights into the development of AM standards.

REDEFINING P AM production with high performance plastics and batch productivity.

hile additive manufacturing has traditionally been used as a prototyping tool, its rapid maturation in recent years has encouraged many manufacturers to adopt the technology for enduse production parts across a range of applications. Much has changed with the technology, including the development of additive manufacturing processes and materials that are capable of meeting manufacturers’ standards for factors such as repeatability, reliability, accuracy, surface finish, and more. Specifically, advancements from 3D Systems are making it possible to rapidly iterate and produce durable, repeatable parts, not just using thermoplastics, but now also with advanced photopolymers with long-term stability of mechanical properties in both indoor and outdoor environments, which was previously not possible. 3D Systems’ materials scientists are engineering materials that are expanding the applications for additive manufacturing. Its rapidly growing portfolio of production-grade industrial resins for the Figure 4 printing solution are designed specifically for both batchrun, end-use part manufacturing, as well as functional and design aesthetic prototyping applications. These materials feature long-term mechanical performance and stability – up to eight years indoor and one and a half years in outdoor environments – and are suitable for demanding applications in industries such as consumer electronics, automotive and motorsports, healthcare, industrial goods, and aerospace and defence. These advancements go beyond the Figure 4 platform. 3D Systems is also bringing these new material capabilities to its stereolithography (SLA) platforms with new production-grade acrylate resin, Accura AMX Rigid Black, which was inspired in part by the advanced production application requirements of TOYOTA Gazoo Racing (TGR). This tough, long-lasting material is the first to produce large-scale additively

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SHOWN: TOYOTA GAZOO RACING MANUFACTURED THIS AUTOMOTIVE GRILL CNC FIXTURE USING 3D SYSTEMS’ NEW ACCURA AMX RIGID BLACK – ACHIEVING A LONG-LASTING PRODUCTION PART WITH SMOOTH SIDEWALLS & SUPERIOR ISOTROPIC STRENGTH

“This is a real game-changer for production manufacturing.” manufactured parts with exceptional resolution, accuracy, and surface quality capable of withstanding the rigours of long-term mechanical use. According to Alexander Liebold, Group Leader, Production Engineering & Future Technologies at TGR-E, Accura AMX Rigid Black allows TGR to deliver larger, complex stereolithography parts, including full-scale manufacturing aids.

COVER STORY

PRODUCTION 6 BELOW:

HIGH-DENSITY VERTICAL STACKING IN 3D SYSTEMS’ 3D SPRINT ENABLES BATCH-RUN PRODUCTION ON ITS FIGURE 4 TECHNOLOGY

6 BOTTOM LEFT:

FIGURE 4 SOLUTION WITH 3D SPRINT STACKING FEATURE ENABLES BATCHRUN PRODUCTION AT DECATHLON

“Using Accura AMX Rigid Black we achieved 90% time savings and 60% cost savings in comparison to the previous handwork processes for a batch of 40 parts,” said Liebold. “Unlike other additive production technologies, parts in Accura AMX Rigid Black provide very smooth sidewalls and superior isotropic strength, critical for accurate jigs and fixtures that are in constant use. Now we can turn around any large-scale part and be confident it will perform as required, for as long as we need. This is a real game-changer for production manufacturing.” Efficient Batch-Volume Production with Additive Manufacturing Even with these advancements, there is more to being productionready than material properties.

Production volumes are also a significant piece of the equation. 3D Systems has solved this as well with a software feature it calls highdensity stacking, and it has been tested and validated as a viable production technology by the largest sporting goods retailer in the world. When faced with a mould injection problem on a small component for shooting glasses that connects the frame to the lenses, French company Decathlon opted to test 3D Systems’ new 3D stacking solution to evaluate additive manufacturing for production. The stacking feature helps users print high volume batches with an efficient file preparation workflow that results in more parts out of the printer in less time. Decathlon’s additive manufacturing lab (ADDLAB) uses 3D Systems’ Figure 4 solution across a range of applications, and according to Decathlon materials engineer Gregoire Mercusot, stacking has reduced print preparation time by as much as 80 percent: “By stacking parts we are able to print in batches of 100, and have reduced the time it takes to prepare a build from 30 to 60 minutes to just six to ten minutes,” said Mercusot. Additive Manufacturing Provides Depth and Breadth to Traditional Manufacturing While additive manufacturing is unlikely to entirely replace traditional manufacturing modes used for the highest production volumes, advances in production-grade materials, technology and software have made it economically viable for manufacturers that require greater breadth of production; significant quantities of initial series production, post-series production, and spare parts production. This technology is also making it possible for manufacturers to increase the depth and flexibility of their production process, even as they are delivering parts with greater cost efficiency.

The mould injection problems Decathlon was having during previous production runs of its shooting glasses component are something it is now equipped to avoid. After conducting a feasibility study on the Figure 4 solution and stacking feature, Decathlon’s teams confirmed the productivity and economics of additive manufacturing and decided that this solution could be considered for batch-run production of the final product. The high-density stacking capability of Figure 4 brings efficiencies of scale to postprocessing as well as part building, allowing Decathlon to treat a batch of parts the same as a single part. This means the time it would take Decathlon to clean, cure, and remove the supports from a single part remains the same, even for a batch of 100 parts. Decathlon uses the Figure 4 Modular system to print stacks of 100 parts in 85 minutes, which is equivalent to just 42 seconds per part. For Decathlon’s safety glass application, it takes six minutes to clean all 100 parts, 90 minutes of hands-free time to cure them, and ten minutes to remove supports from the entire batch. “The combination of stacking and production-grade materials makes Figure 4 ready for production,” remarked Mercusot. The growing speed, accuracy, and versatility of additive manufacturing positions it more and more as an ideal solution for modern industrial production needs — either for complex, multi-part assemblies or small yet vital single plastic components. With 3D Systems’ innovative additive manufacturing technology, as well as its wide portfolio of tough, durable, production-grade plastics, it’s time to consider incorporating AM into your production workflows.

29.4 / www.tctmagazine.com / 09

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Rawlings wanted to make a new glove that would revolutionize defensive play with several innovative, performance-driven technologies. Traditional gloves can take weeks or even months to become game-ready, but Rawlings sought to reduce this time without compromising on durability so that the glove would maintain its shape and playing form longer. Additionally, it’s critical that the catching pocket be soft and complemented by a stiff pinky and thumb to give the player confidence and control while securing the ball on the diamond.

Additive manufacturing continues to revolutionize the performance and protection capabilities of products through new designs previously unmakeable by traditional manufacturing methods. The latest company to unlock new innovation in their products is Rawlings Sporting Goods, with the development of the Rawlings REV1X.

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felt inserts to reinforce the thumb and pinky but in order to meet these new high-performance standards, Rawlings needed a material that would allow fine control over the stiffness without increasing weight Rawlings turned to Carbon and the DLS process to design and print precisiontuned lattice stabilizers that would achieve this. Carbon’s FPU 50 material provides the optimal stiffness-toweight ratio. FPU 50’s malleability allows the glove to conform to the player’s hand and maintain its ideal shape longer than traditional materials. The result is an ultra-lightweight, professional glove that can be gameready faster and stay gameready longer.

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Carbon DLS: A Platform For Success

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High-performance products faster Even with over 130 years of glove-making expertise, Rawlings realizes that challenging the existing standards of design is no small task. Carbon’s application development team collaborated closely with Rawlings’ team of designers, blending their creativity and Carbon DLS design expertise with Rawlings’ in-depth knowledge of glove manufacturing. Visit the Carbon website www.carbon3d.com to learn about Rawlings’ story, and download a free copy of the Carbon DLS™ Playbook to discover insights on how to bring innovative products to market faster.

news

ADDITIVE INSIGHT ROUND-UP

Laura Griffiths provides a rundown of the biggest AM news and developments. ADDITIVE GOES PUBLIC The list of AM companies going public continues to grow as Freemelt, Fathom and Fast Radius join the likes of Markforged, Xometry and Desktop Metal on the stock exchange. It points to the continued maturation of the industry but what’s notable about this most recent cohort is an emphasis on decentralised and on-demand manufacturing capabilities. After pandemic related disruptions caused companies to rethink their supply chains, and AM’s potential role within it, these listings suggest it’s a trend set to continue and is perhaps why companies like Colorado-based Precision Additive have recently decided to launch an industrial 3D printing service citing the “enormous potential of 3D printing is to reshape supply chains, reduce manufacturing costs and lead times.” AM HITS A HOME RUN Speaking of Fast Radius, the digital manufacturing provider was recently enlisted by baseball glove manufacturer Rawlings to 3D print a new optimised design using Carbon technology. The ultra-lightweight, form fitting REV1X series is said to represent a "significant evolution" in glove design. Glaze Prosthetics is also reaping the benefits of a digital workflow by bringing its prosthetic arm production process in-house. The installation of a HP Multi Jet Fusion 580 is said to have significantly reduced development time with Glaze now able to produce and deliver customised prosthetics within 7-14 days.

SHOWN: FARSOON’S INSTALL FIGURES SURPASS 500 MACHINES

TCT took an exclusive tour of another new facility, the Digital Manufacturing Centre, which aims to provide digital solutions to customers in motorsport, aerospace and beyond.

SHOWN:

SPEE3D TO START 3D PRINTING ROCKET ENGINES

SPACE RACE As the space tourism race heats up, AM is also getting in on the action as SPEE3D bags $1.5m+ in funding to produce rocket engines with its super-fast cold spray metal 3D printing process. It’s an area AM is poised to tackle thanks to expanding materials portfolios and build chambers which now make it possible to manufacture large-scale assemblies. In a recent interview with TCT, TRUMPF Industry Manager Eliana Fu emphasised the trend and said AM is “opening up the possibility of more spaceflight for more people.”

Elsewhere in medical, Desktop Metal’s Desktop Health brand has announced the acquisition of PhonoGraft, a technology that is being developed for damaged eardrum reconstruction. It follows a string of acquisitions from the company including Bringing it slightly back down takeovers of EnvisionTEC, Adaptive3D and to Earth, AM Global GmbH has most recently Aerosint. launched its Aviation AM Centre in a bid to provide “tailored Further emphasising AM’s widespread solutions, efficient processes and adoption, this month, Farsoon revealed cutting-edge technology” for the that its global install base of polymer and aviation industry, while Burloak metal systems has surpassed 500, with Technologies has announced the more than 80 large-format metal systems opening of a second AM facility installed with aerospace and automotive with Carpenter Technology which customers, two sectors where Farsoon Global Director, Don Xu said the company will supply components to the aerospace, transportation, defence is seeing “increasing demand of large and energy sectors. Here in the UK, volume functional parts fabrication.”

WHAT’S NEW? Despite a lack of opportunities to show off new wares in-person, the AM launches have kept coming. Roboze has announced its ARGO 1000 platform which has been designed to produce large-scale parts with “super polymers and composites.” Meanwhile, 3D Systems has introduced a new Accura AMX Rigid Black SLA 3D printing material for long-term end-use parts, which you can read more about in our cover story (and, at the time of writing, has announced the sale of its Medical Simulation Business, Simbionix, in order to focus solely on AM), and Nexa3D has announced the launch of an automated washer system along with a new dental material developed by BASF Forward AM. As you’ll see on page 33, there’ll be plenty more to come at TCT 3Sixty this September. For more, subscribe to our Additive Insight podcast: mytct.co/TCTPodcast Read these stories in full: mytct.co/AMnews

SHOWN:

THE PHONOGRAFT DEVICE COULD ENABLE LONG-LASTING EARDRUM RECONSTRUCTION

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SHELL, SPARE P & SUPPLY CHAIN WORDS: LAURA GRIFFITHS

il and gas giant Shell has been deploying 3D printing at its Lloyd’s Register-qualified Amsterdam-based facility since 2011. Here, Angeline Goh (AG), Shell’s 3D Printing Technology Manager speaks to TCT about supply chain, digital warehousing and introducing new technology to a traditional industry. TCT: Shell’s 3D printing focus is on spare parts, novel designs, and visualisation. Can you talk about any particular components or projects that have shown the advantages AM affords? AG: The case we worked on in Shell Nigeria is an example of how one could extend equipment life by replacing just what is absolutely needed and in doing so, reducing production downtime and risk in performing the maintenance work. [Editor: For this particular case, engineers used 3D scanning and printing to replace the polymer seal cover on the mooring buoy of an offshore structure in just two weeks and achieved a maintenance cost saving of 90%.] At a different site, we experienced a few valves that were obsolete and where repair kits were not available. We were able to successfully print the valve internals and continue to use the valves, instead of throwing these away as scrap metal. This presents an agility for us to respond to our operational needs as we have assets that are aging and reaching end of life. AM presents an option to extend the use of equipment and reduces precious resources to produce new spare parts. We are therefore very keen to review repairing parts via 3D printing.

Another way that AM supports our operations with the shorter lead-time to obtaining parts, is that it creates a shift towards buying just-in-time as opposed to just-in-case. The traditional way of buying spare parts at the onset of installing new equipment, may not be necessary if we could print the required parts with the same or improved quality. Spare parts stored in a warehouse require proper storage and preservation and do not provide agility when operating conditions change and the original spare parts may no longer be suitable. TCT: How easy or challenging is it to get a new AM part from design to production and finally installed at Shell? AG: This is dependent on the type of spare part as well as location. We have a preference to source a 3D printed part for our end users closer to the site of the repair and maintenance. The distribution

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of qualified service providers could be limited in some regions. For example, the non-critical and polymer part that we executed for Shell Nigeria took two weeks from scanning the part to printing, to testing and packing for shipment, even though no technical drawings or documentations were available. However, for functional parts with high criticality, we ensure rigour is built into starting with a build process qualification and this takes additional time in the process. The administration of the procurement process requires time, so the ideal situation is when this is already established upfront. TCT: Shell’s 3D printing strategy is not to manufacture parts itself. How are you qualifying partners and OEMs to source 3D printed components? AG: Shell has a quality management system in which we qualify vendors for materials that we use in our operations. This process already exists. In the case of 3D printing, we adhere to the build process qualification with vendors as per the DNV standard for additive manufacturing of metallic parts [DNV GL ST 203]. There are many service

HEAVY INdustry

PARTS N 3 LEFT:

3D PRINTED PRESSURE VESSEL

6 BELOW:

ANGELINE GOH, SHELL

providers for 3D printing but not many with experience to print functional parts for the energy sector and it is important that we have confidence that the service providers can supply quality parts for our operations. TCT: Can you talk about the benefits that digital warehousing and AM can provide within Shell's supply chain? AG: Having in-house 3D printing capacity was an advantage for us during the pandemic as we could support the community with printing medical devices required by front-line workers. Digital warehousing combined with distributed manufacturing will provide delivery time reduction for spare parts required by our operations and allows for buying and manufacturing what we truly need. Having a digital copy of the spare parts ensures that we have a way to produce what we need, and not run into obsolesces.

SHOWN:

3D PRINTED MODEL OF A HIGHPRESSURE ELECTROCHEMICAL COMPRESSOR

TCT: Are there any challenges that may prohibit the acceleration of AM within the energy sector? AG: Standards bodies and organisations that are responsible for international standards and legislation are still playing catch up to provide the necessary guidance and approve for the use of 3D printed parts in energy sector. For example, work is still ongoing in our service conditions and pressure equipment, etc. As an industry, we do not yet have a standardised way to qualify AM service providers yet. TCT: Can you talk about the process of converting a traditional industry to a digital mindset? AG: Tremendous effort is taken to ensure a high level of technical assurance when introducing new technology, including 3D printing. We are a heavily regulated industry and introduction of technology needs to be done with a management of change process, and risk mitigation is detailed and thorough. We take our time where needed in implementing technology. Here is where knowledge sharing across the industry can help in providing a level of confidence on what has been investigated and proven to work. We pride ourselves on our engineering skills. We would rise to the challenge of commissioning the world's largest floating liquefied natural gas platform and apply the same penchant of detailed

“Having a digital copy of the spare parts ensures that we have a way to produce what we need.” planning, analysis, and data acquisition to devise a perfect solution. Diversity in the team and multi-disciplinary approach, including the involvement of external partners towards introduction and scaling up of new technology helps us to gain external perspective and ensure risks have been evaluated from different angles and managed. TCT: What opportunities for sustainability do you see AM bringing to Shell? AG: One may argue that in AM, transportation of the raw materials such as powder and wires are still required, so the emission issue remains. The game changer here is instead of shipping multiple spare parts to a warehouse only when we need it, only a fraction of the weight in powder is shipped to print what we really need. Ideally, the design has also been optimised so less material is required and higher integrity and performance of the part can be achieved. It is about extending the equipment life, being able to repair a part rather than to throw away a piece of equipment because a small spare part is not available. These steps add up quickly towards responsible use of resources. Additionally, we see AM as a possible technology to recycle materials, such as end of life windmills whereby blades can be grinded to create feedstock back to 3D printing instead of going to a landfill. This applies to electrical as well as organic waste material. TCT: To date, Shell has installed over 50 3D printed spare parts. Can you give us a sense of Shell’s ambitions with 3D printing and how much you envision that number growing? AG: We move away from setting a hard target for 3D printed parts as we believe it should be value-driven and achieving the objective of solving problems for our operations. Right now, the demand and growth in the number of parts have grown exponentially [compared to] when we started and we are moving onwards digitalising the inventory at our sites.

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HEAVY INdustry

EMBRACING CHANGE Senior Content Producer Sam Davies talks to Aidro Hydraulics CEO Valeria Tirelli about the company’s five-year journey with metal AM.

n the office of a small Italian hydraulics manufacturer lies an American trade magazine, left open on a double page spread where one company has celebrated a special anniversary by placing two adverts, side by side, of the same product. One was from 70 years ago, the other from the present day, not that you would be able to tell the difference by the design of the part. This, along with a constant ‘spirit of innovation’, served as inspiration for Valeria Tirelli, the CEO of Aidro Hydraulics, as she looked to evolve the company’s manufacturing methods. Aidro, a team of just 15 people based in Italy’s Lombardy region, has been producing hydraulics products and parts since 1982. In 2012, Tirelli took the reins from her father, Paolo, and five years later she would make the bold move of integrating additive manufacturing technology into the business to produce some of its end-use products. “At that time, there were no other companies in hydraulics using 3D printing for hydraulics parts,” Tirelli told TCT. “There were companies using 3D printing for tooling or sand moulds, for example, but to create functional parts with additive manufacturing was completely new. We were a kind of pioneer.” As the company – who for 35 years had used conventional means to manufacture its hydraulics products – blazed the additive trail, it pitched up at Hannover Messe. Its modestly sized booth, however, didn’t put off the wide eyes of some of the biggest industrial companies around. Tirelli’s rolodex grew by the hour, as attendees from the motorsports, robotics and energy sectors queued up to learn how the company was using additive manufacturing to produce its parts. After nearly five years of using the EOS M290 platform with its 400 W laser, the company can now tell interested parties about its 3D printed hydraulic spools, hydraulic valve blocks, heat exchangers and high-pressure hydraulic manifolds. With redesigned products like these, weight reductions up to around 75-85% are common, part

“Since we introduced AM, we have faced a real transformation.” consolidations too, as are a range of performance benefits. A pressure reducing valve body, for example, was consolidated down to one component with a weight reduction of 60% and printed in stainless steel, maraging steel and aluminium. The stainless-steel version offered a high corrosion resistance, making it suitable for application in the oil & gas and maritime sectors, while the maraging steel product provided extra strength and toughness. Meanwhile, the addition of new holes forms in a hydraulic spool product enabled the passing area of oil inside the spool to be increased to improve performance, and newly integrated internal channels inside a hydraulic valve block ensured better flow and space savings. Aidro has

also enjoyed designing curved channels with additive to replace the 90-degree intersection angles that had to be produced with traditional methods. “When you have to connect to a channel in conventional machining, the intersection is at 90 degrees, and there is less pressure, some pressure drops, some dead zone,” Tirelli said. “With additive manufacturing, we are able to create the coolant channel exactly how we need, and we have a better performance, less pressure drops, and we avoid the auxiliary [drillings] that are normally a potential leakage of the oils in conventional machining. So, we have a safer part.” These design changes, Tirelli believes, have resulted in products that are safer for the agricultural industry, because they’re less likely to leak; more environmentally friendly for the transport sectors, because of the weight reductions; and matching or bettering the performance of the traditional products across the board. The company has also committed to carrying out lifecycle assessment analysis to accurately measure the carbon footprint impact, while its ISO 9001 certification ensures the quality of each product it manufactures. Aidro is also exploring virtual warehousing and is part of F3nice’s efforts to recycle obsolete parts as raw material. Introducing additive manufacturing into the business has been significant for Aidro, whose optimism for the future is rooted in the performance demonstrated by additive manufacturing over the last five years. It has helped to achieve important design changes and product enhancements; drawn the interest of the likes of Porsche, Equinor, Shell and Boston Dynamics; and resulted in the company signing more than 150 NDAs in five years. Oh, and it will mean that Aidro is never likely to be found advertising the same product with the same design 70 years apart. “Since we introduced additive manufacturing,” Virelli finished, “we have faced a real digital transformation. This is our experience. But it’s not only a new way to produce parts, it’s really a new mindset and this changes the way we work every day.”

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HEAVY INdustry

‘CRISIS IS AN OPPORTUNITY’ WORDS: SAM DAVIES

the models for the casting itself and built those internally, processed them and we had very little to no nonconformances based on the geometry coming out of the gate,” says Jeff Eschenbach, Senior Project Manager and Project Lead at GE Aviation’s Auburn facility. “Design did want to do some tweaks to make it a little bit more appropriate to meet their design needs, but they were not wholesale changes, and we were able to accommodate those and print exactly what they want. And the parts looked very good almost first time.”

OVID-19 is sweeping across the globe as the decision makers at GE Additive and GE Aviation convene in one of many urgent meetings. Such were the ranging impacts of a pandemic gathering momentum, production was being suspended in GE Aviation factories and external suppliers were making tough calls on which products to discontinue. It led the services personnel, design engineers and additive engineers in that meeting to have a think about how things could be done differently; how to positively impact their engine programmes when the world was being turned upside down. It led to the production of four land/ marine turbine bleed air components to be switched from casting to metal additive manufacturing. Despite GE’s renowned history with metal 3D printing, as GE Additive’s Customer Success Engineering Leader Steve Slusher explains, this is not the kind of decision that the company takes lightly. “The story has to be really compelling for us to switch over traditionally manufactured parts of existing product lines to additive,” he says. “And those factors can be a cost play, it could be a supplier is no longer quoting the parts, so they’re no longer going to make the parts, it could be a yield problem with the current process.”

“Additive technology benefits the company on multiple levels.” In this instance, it was a bit of everything. The project was born out of an availability/ sourcing issue, but quickly became a cost play too. Supplying the parts for the LM9000 land/marine turbine to Baker Hughes, GE was able to print four components – all measuring around 3.5 inches in diameter and 6 inches in height – within the same build on a Concept Laser M2 machine. This allowed GE to ‘get our machine hours per part into a very desirable state’ and ensure the parts were cost competitive. Moreover, each component was a one-to-one replacement of the traditionally made part, with no part consolidation and little-to-no redesign. They were also built vertically with only two of the four components requiring support structures, helping to ensure a seamless transition from a casting configuration to an additive one. “This sounds almost unbelievable for an additive part, but we started with

Eschenbach is considered the first point of contact when wanting to bring an additively manufactured part into high volume production at GE Aviation’s Auburn site in Alabama. This facility is the ‘high-volume additive facility’ for GE Aviation, with applications being developed elsewhere and passed onto the team at Auburn when deemed ready to go into production. That was the journey the LEAP fuel nozzle tip went on just a year after the Auburn site opened, and it has been the same for many other components since, including these turbine bleed air parts. With most other production at the site suspended, the project team moved much quicker through post-processing, inspection and ‘getting the application to the finish line.’ They did so inside ten months, while it might previously take as long as 18 months when developing turbine parts, and project cost savings of around 35%. “The reduction in the design phase enables the additive technology to benefit the business on multiple levels,” offers Kelly Brown, now the Engineering Operations Leader for GE Additive after leading the bleed air component project at the beginning. “It saves cost in the implementation – that’s a simple time and money conversation of less development time, less people working on the programme – but then you really absorb those savings as a business from the minute it’s ready to move forward. So, you look at reduction of costs for the casting itself, depending on which parts can also require less energy, less materials, less plant space, less resources to produce the same parts additively. If you look holistically, those are all good things and that’s how you make the decision.” Having accelerated the programme during the pandemic, GE is now set to use this project in Auburn as a template with a ‘bank of parts to go after next.’ “Crisis is an opportunity,” says Slusher, “and that’s what we took advantage of down there.”

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SETTING TH T

he turn of the millennium brought about many changes. While our aeroplanes remained in the sky despite fears of the Y2K bug, advancements in technology would see the rise of the internet, and with it things like social media and mobile apps. Buying music would become a thing of the past, as would our tendency to read words like these in print publications. It also coincided with the launch of colour 3D printing, meaning rapid prototypers would soon have an alternative to building parts layer-bylayer in monochrome.

Pioneering that particular movement was Z Corp. By the time the company had been acquired by 3D Systems 12 years later, its colour 3D printing technology was enabling the likes of LAIKA to start applying colour during the build rather than painting parts in post-production. But LAIKA’s Director of Rapid Prototyping Brian McLean would tell TCT in 2018 that, even by the time it was working on Paranorman (2012), they found colour 3D printing technology to be inconsistent ‘from print to print.’ It wasn’t just the users who had reservations about the technology. RIZE CTO Eugene Giller worked as a Senior R&D Chemist at Z Corp between 2005-2010, and he too had been unsatisfied with the quality of the parts Z Corp’s colour technology would output. “I always thought it should be a technology that could provide a fully functional colour part, not just form,” the RIZE founder told TCT. “For me, it was all about strength.” Today, there are a host of companies supplying colour 3D printers to market, including RIZE, Stratasys, HP and Mimaki. The latter launched the 3DUJ-553 platform with its capacity to print ‘more than 10 million colours’ in 2018 and followed it up with the smaller format 3DUJ-2207 system in 2020. Its larger 3DUJ-553 machine boasts a build volume of 500 x 500 x 300 mm and uses a UV-curable inkjet process to print parts in full colour. White and clear inks can also be mixed with colours to add transparency, while water-soluble materials enable post-processing times of just a couple of minutes. Dutch service provider Marketiger was among the first users of Mimaki’s colour 3D printing technology. As of late 2019, the company was producing up to 20,000 custom figurines every year, though a second 3DUJ-553 was installed in early 2020. With the machine’s automatic cleaning sequence and queuing capabilities, Marketiger is able to print at up to 72 hours in a row without touching the printer, but generally sticks to overnight print jobs. Because of the nature of its core business – custom figurines based on 3D scans of people – the company targets 100% yield. To ensure everyone who scans themselves gets a 3D printed full colour model, Marketiger only starts manufacturing models

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once it has confirmed the quality of the scans and editing of the models. But once the print button is hit at Marketiger, it barely stops.

“My company is built on this machine running 24/7,” Marketiger Director Maikel de Wit told TCT at Formnext 2019. “It causes some issues because it’s a new technology, but we’re able to get this machine above 80% utilisation on a 24/7 basis.” Evidently, much progress has been made in colour 3D printing over the years. With the inaccuracies and supposed brittleness of early colour 3D printed parts, building a business around the technology as Marketiger has with Mimaki’s tech was hardly possible. Yet, the companies bringing the technology to market know there is still more to be done. Giller has always been of that mindset. He founded RIZE, in part, because he wasn’t happy with the quality of components coming off Z Corp printers. Yet, he has always had faith in the potential of colour 3D printing. In starting RIZE, Giller has aimed to deliver a printer that can operate in any environment to deliver functional parts in full colour that require minimal post-processing. His answer is XRIZE, which uses the patented Augmented Material Deposition technology to build parts by jetting a formulated release agent between layers of extruded materials. While the extrusion process allows carbon composites to be printed, the jetting aspect of the process enables the voxel-level application of fullcolour graphics. For RIZE, the potential applications go beyond prototyping and figurines. Multi-coloured medical models – as we detailed in volume 29 issue 2 of TCT Magazine – is a key play for this technology, as are jigs and fixtures. For manufacturing aid applications, the use of high-performance polymers and composites ensure parts can withstand the factory floor, while colour can be used to indicate when a part needs replacing, as with the manufacturing aid pictured at the top of the page. These are just some of the ways RIZE’s customers are using its full-colour technology, and they’re not shy of telling the Bostonbased firm how they can still improve. “They want new materials,” Giller says. “And that’s why we are working really hard to introduce a new set of materials. They’re really happy with [the current materials] right now, but there are a subset of customers that really want parts to go inside of vehicles where they are exposed to oil. They also ask for elastomeric materials.” As a result, RIZE is working to add such products to the and Rizium One, Rizium GF (Glass Filled), and Rizium Carbon materials it already offers. Unsurprisingly, the company is not alone in building out its colour 3D printing portfolio to meet rising customer demand.

design AM

HE TONE WORDS: SAM DAVIES

SHOWN: MANUFACTURING FIXTURE PRINTED WITH XRIZE

Stratasys has been prolific in that regard. It now offers more than half a dozen full-colour 3D printing systems in its J Series portfolio, with some designed specifically for the dental and medical markets. In June, it introduced the J55 Prime, an office-friendly full-colour system that operates as quietly as a refrigerator (less than 53 DB), alongside a range of new functional materials. The expansion of material offerings, despite the wealth of machine options, is seen as the primary way to nurture the company’s colour printing offering.

In line with the J55 Prime, Stratasys rolled out the Elastico Clear and Elastico Black rubber-like materials, the Vero ContactClear translucent Biocompatible material for prolonged skin or bodily contact, Digital ABS Ivory for high impact designs, and ultra-opaque colours enabled by the VeroUltra family. Other materials in the Stratasys colour portfolio include the flexible VeroFlex and the versatile VeroVivid.

“Right now, colour is nice to have, but we want to make it musthave.”

With advancements also being made with the 3MF file format and Stratasys aligning with KeyShot, the company is confident in its capacity to deliver the details and aesthetics that any designer could want, but like RIZE is continuing to push on the performance side through ongoing materials development. “When it comes to mechanical properties, this is still in the works,” says Zehavit Reisin, Stratasys Vice President, Head of Materials Business and Design Segment, ROW. “When we discuss PolyJet materials, it’s about acrylic-based photopolymers and they behave differently versus, let’s say, thermoplastics.

SHOWN: PACKAGING APPLICATION ENABLED BY STRATASYS COLOUR 3D PRINTING. CREDIT: KINETIC VISION

Their heat conditions or their dimensional stability is subject to change if you put the part under stress, under heat, under aggressive environmental conditions and that’s where durability is questionable. That’s where [there is a question mark around] manufacturing end use parts with PolyJet. But we are continuing to work very hard on improving the material properties of what you see today on the J Series, meaning the colours, the transparency, the mechanical and thermal properties are better to withstand the required environmental conditions.” As colour 3D printing establishes itself in the medical and prototyping sectors, there is now a glance towards other opportunities. For a surgeon or a designer, the benefits of colour 3D printing are obvious, but in other markets the uptake is slower. That may not be a problem since there will always be medical procedures to carry out and parts to design and redesign, but in this industry, there is always an appetite to push the boundaries. And Giller is optimistic about the impact fullcolour 3D printing can have moving forward. “The way I think about it, we all have colour TVs, and nobody wants to go back to black and white,” says Giller. “But I’m old enough, I did have a black and white TV and I remember some people saying, ‘I don’t need colour, TV is an art’, and now, no one thinks this way. If we can get it to a [lower] price point, I think people would get used to printing in colour. Right now, colour is nice to have, but we want to make it must-have.”

SHOWN: MEDICAL MODELS PRINTED ON STRATASYS' J5 MEDIJET. PHOTO BY YORAM RESHEF

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Stratasys 3D printing is moving deeper into the manufacturing space with the introduction of three new technologies including the H350 offering Saturated Absorption Fabrication (SAF), Stereolithography (SLA) with the Neo® 3D printer range and P3 polymerisation with the Origin One 3D printer. For unrivalled product realism the J850 Prime has been joined by the new J55 Prime and desktop J35 Pro Polyjet 3D printers. The J850 Prime - and J850 Pro printer platform - ideal for customers looking to meet a range of project needs with one printer, gives user's unique flexibility in the types, colour and functionality of the parts produced. Whilst the J55 Prime retains the Pantone® validated full colour modes of its larger sibling, the desktop J35 Pro utilises printing in 3 materials simultaneously. The new Elastico rubber-like material, with its superior 400% elongation at break, is available on both the J55 and J35 printer platforms. FDM technology, synonymous with Stratasys and Laser Lines Ltd since our partnership was formed over 25 years ago, sees the arrival of the F770. This 3D printer provides consistent, accurate and reliable printing of large parts with a fully heated and thermostatically controlled build envelope of 1000 x 610 x 610mm. This system is ready for the manufacturing floor with all the attributes you would expect - such as MTConnect - offering lower cost large parts, Jigs & Fixtures with professional functionality and connectivity. For even more demanding applications, with 14 standard and engineering grade materials and a build envelope of 406 x 355 x 406mm the FORTUS 450mc 3D production system will build the most robust, accurate and repeatable parts to suit a variety of demanding applications. From the Stratasys MakerBot through the F123 series and beyond, a range of FDM solutions will be on display that match your requirements and budget.

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REPATRIATIONS & The growing role of digital manufacturing technology in cultural heritage

everal times a year, Edwell John Jr., the leader of the Tlingit Dakl’aweidí clan of the Alaskan village of Angoon, finds himself travelling to important ceremonies in other Native American communities. At these gatherings, speeches may be given, stories told, songs sung, and dances performed. Whatever is on the agenda, it is almost certain that John would take with him his Kéet S’aaxw (Killer Whale Hat), a sacred object known as At.óow that embodies the Dakl’aweidí’s history and ancestral spirits. But should that hat be damaged or broken in transit, not only would it cause much distress for John, but arrangements would have to be made for its repair or replacement. Per Tlingit tradition, a carver from an opposite clan would be commissioned to fix or create a new hat, giving them the opportunity to make modifications to the design to mark the hat’s next chapter, or to precisely mirror the original. “[For me,] the repair of that hat becomes part of that story, so it’s not necessary to make an exact replica,” John tells TCT. “I can't speak on behalf of the Kaagwaantaan or the Kiks.ádi [two fellow Tlingit clans], I can only speak on behalf of my clan house. It’s up to the individual clan leader if they want something exact or if they want a slight variation. And the reason for the variations, for me personally, is there could be an added story to that hat.” It’s a principle that John has held ever since – as he became the caretaker of the Dakl’aweidi clan’s crest objects – he began working closely with the Smithsonian Institution to repatriate sacred items back to the Tlingit community. In 2005, a Killer Whale Hat was repatriated to John’s predecessor, Mark Jacobs Jr., who passed away just 11 days later. Seven years on, John took the hat back to the Smithsonian, allowing them to digitise and then fabricate a replica that would be exhibited in their National Museum of National History. The replication of the hat using digital technology was highlighted by University of Brighton researchers Myrsini

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Samaroudi and Karina Rodriguez in an article published on theconversation. com in 2019. The thrust of the piece was to proffer 3D technologies as tools to support and facilitate repatriations, reuniting people with cherished items and replacing lost knowledge in affected communities, while still allowing museums to inform the public about the culture behind the objects. By repatriating and later replicating the Killer Whale Hat, the Smithsonian Institution hit on a couple of those values. Having managed to send the hat back to Jacobs, the then Dakl’aweidí clan leader was able to communicate through it with his ancestors before he passed. With the subsequent creation of the replica, the Smithsonian is also able to continue informing its visitors of the hat and Jacobs’ story. “I don’t remember exactly when, but we began having conversations about digitising the hat and the multiple purposes that could serve,” Eric Hollinger, a Tribal Liaison for the Repatriation Office of the Smithsonian’s National Museum of Natural History, says. “One, a level of security for Edwell in case something happened to the original hat and then we also asked Edwell for permission to make a replica to be able to tell the story in the museum of the repatriation to Mark, because in repatriation, we often don’t have anything physical left to put on exhibit.” With John’s permission, the Smithsonian used laser scanning to capture the shape of the object, photogrammetry to capture the colour information and file processing to blend the data together. Using alder wood – the material the original hat was made from – supplied by the Tlingit, a replica was carved via CNC milling, with the object being placed in a freezer in between phases of machining to ensure it didn’t crack or warp. It has been on display at the Smithsonian Natural History Museum ever since; it was talked about at subsequent Tlingit clan conferences; it is loaned to Tlingit dance groups to wear in performances in Washington D.C; and it has helped to accelerate conversations between both parties around repatriation.

“We should approach the subject of decolonisation and repatriation with an open mind, accepting other people’s voices and work towards the benefit of all.”

CULTURE

& RESTORATIONS WORDS: SAM DAVIES

3 LEFT:

DAKL'AWEIDI CLAN LEADER EDWELL JOHN JR. (CENTRE), WEARING THE REPATRIATED KILLER WHALE HAT IN 2013. PHOTO BY JON ALEXANDER

6 BOTTOM:

REPLICA KILLER WHALE HAT ON EXHIBIT IN THE SMITHSONIAN'S NATIONAL MUSEUM OF NATURAL HISTORY. (CATALOG NUMBER E433020. DEPARTMENT OF ANTHROPOLOGY, SMITHSONIAN INSTITUTION.) PHOTO BY JAMES DI LORETO

NEEDS AND WANTS Such discussions are of increasing importance, with Samaroudi telling TCT that “museums have to evolve to remain relevant to society” and “enable people to make their voices heard.” Pitt Rivers Museum in Oxford, UK is one museum that has come under pressure from academics, authors and protest groups to address the origins of many of its exhibits. Recently, Pitt Rivers posted a statement on its website outlining its ‘commitment to change’ in which it will actively pursue repatriation and decolonisation opportunities. Yet, the museum’s Head of Conservation, Jeremy Uden, tells TCT that there is some hesitance around the idea of using digital or 3D technologies to support those efforts. In a scenario where it is returning an artefact back to an affected community, the museum would prefer, if possible, to instead exhibit traditionally made replicas. Meanwhile, in an instance where the original cannot be returned, to send a 3D printed replica in its place, for example, may not suffice because the interest in the object is more to do ‘with the connection with their ancestors and the spiritual significance of the original object,’ than the look, feel or function. Just down the road, though, ThinkSee3D has different experiences. In the Basse Yutz Flagons – a set of Iron Age ceremonial drinking vessels bought legitimately by the British Museum in the 1900s – the Oxford-based company 3D scanned, 3D printed and finished two replica objects before sending the identical copies to a French salt museum who missed out on buying the artefacts some 200 years ago.

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EPP_202107_AZ_TCT-European_192x136_3DP-Infinam-TPC-helmet_RZ_ZW.indd 1

01.07.21 10:59

CULTURE

SHOWN: TLINGIT SPEAR THROWERS 'SHEE AAN' WITH 3D PRINTED REPLICAS (FAR RIGHT AND FAR LEFT). (CENTER, CATALOG NUMBERS E20771 AND E07899) SMITHSONIAN INSTITUTION DEPARTMENT OF ANTHROPOLOGY. PHOTO BY BRITANNY HANCE

A community in Donegal, Ireland has also accepted a 3D printed copy of an eighthcentury pilgrim bell – which is exhibited in their community museum and taken with them on their annual pilgrimage to St Connell’s Island – because of damages to the original, while a Nigerian community agreed to take replicas of some rare eighth-century bronzes that were cast from 3D printed moulds as they haven’t the means to look after the originals. While these projects may not quite do enough to be considered real repatriation – since neither the original artefacts, nor ownership of them, have been returned – the affected communities have at least been able to utilise the replicas in some of the circumstances that the originals would have been, as with the St Connell’s bell, or have been able to reclaim and retell the story of the object, as with the Nigerian bronze replicas. These efforts are more likely to be referred to as sharing surrogates with communities, while Hollinger has also leveraged 3D technologies for ‘a new form of cultural restoration’ in his role with the Smithsonian. A Tlingit Sculpin Hat project, like with ThinkSee3D’s Irish pilgrim bell, leant on digital technologies because of damages to the original, with a replica being milled by a member of a Tlingit opposite clan – as is custom in the community – and dedicated in ceremony to put spirit into the new hat, making it at.óow of the Kiks.adi, the clan to which the broken hat belonged. Meanwhile, the Smithsonian has also – as Samaroudi and Rodriguez suggested – used 3D technologies to replace lost knowledge in the Tlingit community by replicating a number of ancient spear throwers. The few known Tlingit spear throwers can only be found in museums or private collections, so the Smithsonian

used laser and CT scanning to digitally capture the hunting tools, before 3D printing replicas in high-strength nylon. They have since been put to use in culture camps so Tlingit children can be reintroduced to the spear throwers’ use as hunting tools and carved artistry. In the instances of the Tlingit clans – and the communities that ThinkSee3D has worked with – the use of 3D technologies to support repatriation, surrogate and cultural restoration efforts have been welcomed. But, in each Tlingit case at least, the process has taken several years. There are conversations aplenty to be had just to foster respect and relationships before the digital processes even get underway. Objects then have to be treated with care, cultural protocols agreed to, while there are also permissions to garner and ownership to be established. A further consideration is whether any replica object should be identical, or whether the community would prefer some distinction in the design between traditionally made objects and the digitally fabricated versions. ThinkSee3D has actively looked to make its replicas identical to the originals, and while John has his preferences, he can see both points of view. “I think there are some clan leaders – and I haven’t heard, so I’m just guessing – who would want somebody to physically make a hat [for example] for them,” John says. “So, rather than having the machine make the hat, they want to commission a person to carve the hat and dedicate the hat. For me, in my clan, it doesn’t have to be exact. I would prefer it a little bit different because that’s the story building part of the hat. If it’s an exact replica, we don’t have the story. It’s like somebody getting a scar. Maybe in future technology, that can be repaired, but some people might say, ‘I don’t want that repaired because it’s part of my story now.’”

A 'GREAT POTENTIAL' As the work between the Tlingit community and the Smithsonian continues, there are set to be many more stories added to the heritage of the Dakl’aweidí, Kiks.ádi and other Tlingit clans. And as the discussion around repatriation intensifies, there may be many more opportunities for 3D printing and other digital fabrication technologies to satisfy both the source communities and the museums. Hesitancy around the use of such technologies is only natural, with many communities placing immense value in tradition. Yet, the Tlingit have ensured traditions and cultural protocols – such as the relevant clan participating in the creation of a replica or surrogate; the opposite clan witnessing it; and ceremonies for the objects being carried out – are upheld. As such, the community is embracing modern technology and the opportunities that come with it. Acknowledging these efforts, Samaroudi and Rodriguez suggest there is great potential in cultural heritage for 3D technologies, which are currently undergoing a ‘negotiation phase’ with regards to the range of their application and the establishment of best practices. Rodriguez also points out that, while museums need to keep pace with new technologies, 3D printing in particular needs to offer better materials, colour and texture capabilities, while also being more accessible for museums. Should that happen, it opens the door, as the Smithsonian and others have demonstrated, for museums to use the technology to ‘engage and collaborate with diaspora communities and international communities; reinterpret collections; embrace missing voices; and open up access by sharing 3D data and facilitating interaction with 3D printed replicas of artefacts.’ “As far as it concerns the physical manifestation of artefacts through digital fabrication,” Samaroudi finishes, “we have to understand that discussions should not only focus on ‘who owns replicas’ or ‘who gets what’, but on what the possibilities are to establish an honest dialogue with the communities while taking advantage of the potential of digital technologies to support and take that discourse further. We should approach the subject of decolonisation and repatriation with an open mind, accepting other people’s voices, work towards the benefit of all and attempt to consider a variety of alternative solutions.”

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LEADING TECHNOLOGY    

100W or 200W laser options Precision digital scanner/optics Patent-pending recoater User friendly modern design

SOFTWARE

 Autodesk – Nettfab  Materalise - Magics

OPEN PLATFORM

 Users can create own build parameters  Can process powder from a variety of material providers

INTUITIVE TOUCHSCREEN  Monitor builds in real-time  Optimise print parameters during build

Find out more about the Xact Metal 3D printers by visiting us on Stand No. F41 at TCT 3Sixty. We look forward to discussing them in much more detail!

www.3dprinting.co.uk Laser Lines Limited., Beaumont Close, Banbury, Oxon OX16 1TH 01295 672500  3dworld@laserlines.co.uk  www.3dprinting.co.uk

CULTURE

SMOOTH SAILING WORDS: SAM DAVIES

6 BELOW:

SUSPENDING THE PLANK WITH CLEAR TUBING OVER A PLATFORM WITH ADDITIONAL GEOMETRY/TEXTURE YIELDED THE BEST RESULTS FOR THE PROCESSING STAGE, ALLOWING THE CREATION OF AN ACCURATE 3D MODEL IN THE SHORTEST TIME

he late 1700s saw the onset of European colonisation in Australia, with the transportation of British convicts and free settlers to the largest land mass in the Pacific. While initially set to reduce overcrowding in British prisons, eventually it also led to European settlement with the construction of additional roads, buildings and farms. More than 200 years later, people like Renee Malliaros – a marine archaeologist with Silentworld Foundation in Sydney – spend their days looking for remnants of that period to better understand and conserve colonial Australia’s story. When Sydney Metro discovered a boat believed to date to the 1820s while excavating for a station box in the city, maritime archaeological firm Cosmos Archaeology was engaged to undertake the excavation. Once removed from the ground, Malliaros was brought in to assemble a team and quickly get to work conserving the timbers. The Barangaroo Boat is potentially the oldest known colonial Australian-built craft ever to be excavated. Measuring 9x3 metres, it is believed the boat was used to carry out small ferrying jobs along rivers. It is not the most eye-catching find, or the most well-put-together craft, but that is exactly why Malliaros is interested in the discovery. “It’s significant because it shows us not a very glamorous part of what it was like for the Europeans that came here early on,” she tells TCT. “They were trying to establish some sort of system here and that boat is like a little detail of that system. It’s not the big, flashy buildings. It’s not the jails. It’s not what you normally think of when you think early colonial stuff. It’s a detail but a very important detail because it gives us a picture that we would not normally get.” After the boat was excavated piece by piece, and before it was stored in tanks of clean water and treated with chemicals, Malliaros and her team commenced digitally recording the find. On the back of advice given by colleagues in the UK working on the Newport Medieval Ship, the team sought the expertise of Belgium-based 3D

“Structured light scanning captures the type of detail that we’re after in archaeological recording.” recording specialist Thomas Van Damme, whose Annotated Scans Method utilises the Artec Eva structured light scanner and Rhino software. Said to be easy to use and able to capture geometry and colour, the Eva was used to scan large and structural parts of the ship in as little as 15 minutes, while some of the thinner pieces were suspended to ensure scanning could be executed in one go. Altogether, the scanning and processing of the 300 pieces was completed in two months compared with up to a year with former tracing processes - but it was not without its challenges. “The challenges were to do with finding a balance between having a piece that you can scan and not having too much noise, while also keeping the piece wet. Any water on the surfaces creates noise and causes it to go a bit funky, but then on the other hand you want to dry it to get a good enough skin,” explained Malliaros, before highlighting a positive. “Structured light scanning captures the type of detail that

we’re after in archaeological recording. So, we could see the nail holes, we could see the tree nails, we could even see saw marks.” Having scanned the pieces, Malliaros then processed the data in Artec Studio to clean up the surrounding geometry and supports, before aligning the scans. This information will be used to help reconstruct the boat, which is hoped to be exhibited in its full size at the Australian National Maritime Museum. But before that can happen, a scale model is to be 3D printed to ‘give us an idea of how to fit the pieces back together, where to rebend them if needed, and how it’s going to be supported so that no strain is placed on the timbers.’ Per Malliaros, there is nothing like the Barangaroo Boat – a 19th century ship that has been excavated, recorded in 3D and then conserved – in an Australian museum and so getting the digital recording of the boat right has been paramount. She recalls some colleagues in Western Australia who, when working on the conservation of the Dutch ship Batavia, used polyethylene sheets to record the timbers. Over 30+ years, those sheets shrunk and rendered the entire record dimensionally useless. As such, for Malliaros and her team, the benefit of 3D technologies cannot be understated. “We’re in a massively better position than anybody else who undertook this sort of project in Australia has ever been, because [3D scanning and 3D printing] makes our work so much easier,” finishes Malliaros. “It makes the record that’s going to follow this boat around so much more accurate.”

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INTENTIONAL WORDS: Mina Lee, Manager of People and Culture at MakerBot

orty percent.

That is the estimated proportion of women and minorities who leave the STEM field after five years, according to Erika Jefferson, the founder of Black Women in Science and Engineering in Women in 3D Printing’s 2020 Diversity for Additive Manufacturing Report. With only around 11% of those working in additive manufacturing (AM) actually women, we really need to assess how we retain women and people of colour in our industry. AM creates an object layer by layer. In much the same way, diversity, equity, and inclusion should also be layered into business practices to catalyse innovation. This can only be done by creating an environment that embraces differences, encourages employees to speak up, and empowers them to become more engaged. By now, nearly all companies (should) know the benefits of a diverse workforce: enhanced creativity, innovation, and productivity, reduced employee turnover, and increased revenue just to name a few. Admittedly, attracting and hiring diverse candidates can be an important albeit necessary challenge that many companies still need to be overcome. Even those corporations able to succeed in recruiting diverse talent often neglect inclusion as a key part of the equation. In many cases, actually fostering a sense of belonging is almost an afterthought, if a thought at all. Inclusion is where companies should be thinking about the ways in which they can dismantle systemic prejudices within their organisations. It’s when you start thinking about your employees as more than just cogs in a wheel, but as members of your company’s community. The purposeful and proactive practices to embrace differences, check unconscious biases, unlearn discrimination, and regularly ask “is this equitable?” is what makes the work of inclusion so powerful and, quite frankly, difficult. The other hurdle with inclusion is how do you measure belonging? When it comes to fostering an inclusive environment, managers are easily the most impactful group of employees who can ensure inclusion becomes and remains a priority. Managers at every level influence

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the type of experience their direct reports have in the workplace. This may be stating the obvious, but it is a point that needs to be explicitly said, remembered, and repeated. There is an inherent level of responsibility that managers take on and they should be making sure that their employees feel valued, respected, and emboldened to be their truest selves. So where do we start? Let’s take a look at some actions that managers can take to get the ball rolling. Create a Safe Space for New Ideas When people talk about a safe space, they typically mean a space that is free from bias and judgment. As managers, welcoming and acknowledging dissent is of the utmost importance. Neglecting to do so can discourage employees from speaking up or bringing new ideas to the table. Much like a brainstorming session where no idea is a bad idea, respectfully discussing opposing views can help to spark new ideas and different ways of thinking, the two key drivers of innovation. Encourage Proactive Engagement Not everyone is comfortable sharing their thoughts in a public forum, but that doesn’t make them any less integral to the team or company. There are many reasons why people might be hesitant to participate in public discussions at work, but the first step is understanding where the challenge lies.

Does one person, or more, typically dominate the meeting? Are ideas and different views encouraged or discouraged in meetings? Once you identify the problem areas, you can help your employees be more engaged in a way that shows them that their perspective is valued. This proactive engagement also promotes equity because you are giving those who might not raise their hand an opportunity for their voices to be heard. Be Open to Honest Conversations Something I have realised both in my professional and personal lives is that there is real beauty in having honest conversations. These conversations give you an opportunity to actively identify a problem and try to find a resolution. Honest and oftentimes difficult conversations can be a catalyst building relationships, trust, and communication. If someone on your

team is underperforming, try to understand why. An unfettered space to talk honestly will help you both walk away from the conversation with a clear understanding, different set of expectations, less stress, and recalibrated priorities.

We are also mere mortals and needless to say, nobody is perfect. We all still have so much to learn about the language we use, our own unconscious microaggressions, and how they affect our daily lives. Microaggressions are particularly toxic as they often foster resentment that can build up over time and have a harmful effect on an employee’s mental and physical well-being. There are a few ways that people typically react to microaggressions: they either react immediately to the transgression, address it at a later time once they’ve had time to think it through, or ignore it altogether. As managers, we have a responsibility to identify when microaggressions happen, and be able to correct and prevent them from happening again. It can be difficult work, but we need to have these open and honest conversations to challenge our biases, take accountability for our mistakes, and learn from other people’s experiences. Lead with Empathy Empathy is the key to building a more diverse and inclusive organisation in a productive and meaningful way. Have open conversations about expectations, emphasise the impact of personal obstacles, strengths, and opportunities. Don’t forget that your employees are human - ask how they are doing both professionally and personally. As a manager, your job is to ensure their productivity but also to guide them along their career paths. These ongoing discussions will go a long way in building trust and shaping your relationship with your team, both of which are critical to an effective team. Ongoing inclusion requires significant emotional capital, intention, and attention. When these practices are layered into a manager’s day-to-day management style, they promote an inclusive environment that empowers the team to be the very best version of themselves. Never forget to be flexible, be adaptable, and regularly recommit yourself to active and engaging encouragement.

DIVERSITY

L INCLUSION

TCT Europe 29.4

Articles inside

A 360-DEGREE VIEW

SMOOTH SAILING

THE ORIGINAL WOMEN OF 3D

‘CRISIS IS AN OPPORTUNITY’

SETTING THE TONE

EMBRACING CHANGE

INTENTIONAL INCLUSION

SHELL, SPARE PARTS AND SUPPLY CHAIN