The latest in handheld 3D printing, Lix is the smallest 3D printing pen in the world. This device allows you to write and draw in the air, without using paper. Lightweight (around 1.5 ounces) and easy to use, the pen fits the hand more comfortably than other, larger handheld 3D printers, allowing for more intricate details and designs. Even better, the tool can be powered by a wall charger or a USB port. The biggest challenge for the designers has been the reduction of the mechanical parts to fit into the 12mm diameter aluminum tube.
Though it was exceeded the amount of requested funding, Lix still has a Kickstarter campaign in the works, and you can check out even more information on their website. The pen is currently available for $155, including 5 bags of mixed colored plastic. (via colossal)
“Processes that give rise to forms are at the heart of our artistic work.” says German studio Deskriptiv (the combined work of Dominik Kolb and Christoph Bader), who describe their work as being rooted jointly in the (occasionally conflicting) realms of design, art and computer science. “We work on the interface of computer science and design and combine both disciplines. In this area of conflict to find new processes to deal with it, to analyze it and graphically prepare, that’s what fascinates us and drives. The formation processes, we define purely digitally with the help of our main working tool, the computer.”
Naturally 3D printing fits neatly into the Venn Diagram shared by these disciplines (see previous examples, such as the world’s first 3D printed room, Nick Ervick’s incredibly complex 3D sculptures, and more at Beautiful/Decay) and serves as the perfect medium in which to explore their intersection. In works like their “Hüllen” series (“Wrap,” in English), the duo utilizes clear and opaque plastics, combining them with more mirrored silver surfaces. The intricate complexities (and the imagined difficulties to achieve such subtleties without blending the materials) can also be seen in the their “Verbowen” (translation, “Interwoven”) series, combines a variety of materials and surfaces, weaving them in tight complexity. Meanwhile, their “Klebend” (translation, “Adhesive”) series focuses less on blended materials and more on form, choosing a singular palate to exhibit the true range of surfaces the technology is capable of. (via hi-fructose)
Joshua Harker‘s incredible sculptures are the result of advanced 3D printing technologies. Harker’s designs represent patterns of symmetry and naturally dividing or winding formations like those found in nature or as part of our bodies. His work combines 2D design and imaging with the geometry of the 3D form. Some of his work has even been rendered in steel, bronze, silver, glass, polyamide, and ceramics, merging current sculptural technology with past technology. Two of his projects, Crania Anatomica Filigre and Anatomica di Revolutis, are two of the most funded sculpture projects on Kickstarter.
“My work reveals a passion for the uninhibited and represents my quest for originality in the most literal sense. Incorporated imagery & influences include organic mathematics (phi, knot theory, fluid & turbulence dynamics), vermicular & arabesque patterns. Intentionally, viewers are invited to exercise their own translation of my work in much the same way a Rorschach inkblot elicits various interpretations. The forms and images become uniquely personal to the viewer through this psychological dialogue. My art bears qualities of neo-surrealism, tachisme abstract expressionism, and is invariably contemporary.”
Belgian artist Nick Ervinck‘s work is a divergent collection of the physical and the digital: by employing computer design techniques with a singular vision to make sculptural works new and exciting, Ervinck turned to 3D printed sculptures for his gallery works and comes out the other side creating works of singular focus, applicability and immediacy.
Says Ervinck on his website’s artist statement, “I have always been fascinated by how art has developed due to the use of new materials and techniques. Somewhat disappointed in contemporary sculpture and it’s lack of renewal, I turned towards architecture, applied sciences and new media, in order to elaborate a new language generated by computer software, and to compose forms and designs that were unthinkable in all those years before.”
While many of his works contain a quality that derives from ““Using copy paste techniques in a 3D software environment, I derive images, shapes and textures from different sources: basilicas, corals, dinosaurs, cottages, Rorschach inkblots, Chinese rocks and trees, manga, twelfth-century floral wallpaper, anatomical parts…”, perhaps most interesting in Ervinck’s work is his particular interest in the future possibilities and practical uses of the 3-Dimensional printing medium. In works such as the AGRIEBORZ series (pictured above), Ervinck worked closely with medical scientists to create realistic reproductions of the details of the human body in the fledgling bio-printing industry. He has openly remarked that he hopes that his artistic concerns and sculptures will eventually fuel scientific inspiration to continue research into the realms of human potential. (via MELT)
The fascinating possibilities of 3D printing are getting bigger, particularly with the unveiling of one of the most ambitious printed projects yet, the Baroque-by-way-of-Bitmapped sculpture titled Digital Grotesque. Conceived by architects Michael Hansmeyer and Benjamin Dillenburger, the duo claim their project is the world’s first 3D printed room. Computer algorithms designed most of the structure’s 260 million surfaces, which were printed in sections using a composite sand and binding agent to create a sandstone-like material. When each 4 meter tall, 1 meter wide and 3 meter deep sections were manually placed, the enclosure measures 16 feet and weighs a staggering 11 tons.
According to their website, the architects believethat “New materials and fabrication methods have historically led to radical changes in architectural design. They have indeed been the primary drivers in its evolution. Today, additive manufacturing heralds a revolution in fabrication for design. Yet in architecture, this technology has up to now been used only for small scale models. Digital Grotesque takes additive manufacturing technology to a true architectural scale. Not a small model is printed, but the actual room itself.”
Perhaps most compelling from an art perspective (or at least an art-historical perspective) is the logical conclusion the duo’s project makes. “The Digital Grotesque project opens the door to the printing of architecture. It suggests that 3D sandstone printing can be applied both to restoring historic buildings and to constructing new ones.” One can only imagine the possibilities that this technology will yield for museum research, archaeological recreation, and art exhibitions in the coming decades. (via oddly_even)
One of the most talked about trends in the creative community is 3D printing and its potential. A collaboration between the Institute for Advanced Architecture of Catalonia and Joris Laarman Studio created a machine that is perhaps more appropriately considered a 3D drawing tool called Mataerial. The machine extrudes a thermosetting polymer: a material that, due to a chemical reaction, comes out of the nozzle virtually dry and set. This means that Mataerial is able to construct designs without the need of a level base. The tools creations can even be extruded of a vertical surface, directly off the wall. [via]