Introduction to digital prototyping tech
This module presents state-of-the-art technology for 3D design and printing and gives some links to other sources, where one can find more information in this fields. AUTHOR OF THE MODULE: Stavroula Sokoli
- 1. About 3D design and printing
- 2. 3D design software – Introduction
- 3. 3D design software – Blender
- 4. 3D design software – SketchUp
- 5. 3D design software – TinkerCAD
- 6. 3D design software – FreeCAD
- 7. 3D design software – Slicing
- 8. 3D Printers – Introduction
- 9. 3D Printers – FDM 3D printing
- 10. 3D Printers – Different kinds of filament
- 11. 3D Printers – Geometry restrictions
- 12. 3D Printers – Finishing 3D printouts
- 13. Online courses
This module focuses on implementation of the 3D design and printing in present artisans work. The field of artisanship is very vast and it is not possible to analyse (as well as make a list) all the jobs that can be defined as "artisans". We have chosen for this module the most characteristic fields then. After recalling the most important information regarding 3D modelling and printing, we present in details, how 3D technology changes jewellery-making process. We give also some hints regarding implementation of this innovation in other handicraft works, like those using leather, wood, metal, glass and ceramics as raw materials. The artisan production is closely connected with other sectors, and we have to consider that the development of 3D modelling allows a greater integration of these fields with undeniable benefits in all sectors. For this reason, the field of architecture and interior design in which artisan production is a strategic factor has been also considered as an example. AUTHORS OF THE MODULE: Enrico Ferranti, Mario Paiano, Letizia Di Pillo
- 1. Metallo Nobile Manifesto
- 2. Recent developments in the craft field advanced by new digital technology
- 3. Digital 3D modelling as a part of artisan’s work
- 4. 3D printing process
- 5. 3D modelling and printing in a craft field – conclusions
- 6. Exemplary case: the goldsmith’s art – Introduction
- 7. Goldsmith’s art – Iter produce of a florentine style ring – traditional vs 3D supported
- 8. The modern goldsmith’s workshop
- 9. New artisan working methods – Leather
- 10. New artisan working methods – Molds
- 11. New artisan working methods – Shoemaking
- 12. New artisan working methods – Restoration
- 13. New artisan working methods – Glass
- 14. New artisan working methods – Ceramics
- 15. 3D Printing in architectural field – benefits
- 16. 3D Printing in architectural field – communication and analysis
- 17. 3D Printing in architectural field – opposed model making
- 18. 3D Printing in architectural field – simplification and sustainability
Youth creativity in the digital age
The aim of Module III is to present one of the possibilities, how the Module I and Module II can be implemented in small makerspace for and with young people interested in different implementations of 3D modeling and printing techniques. On the basis of workshops run in our 3D laboratory in Wadowice, we prepared practical lessons on how to introduce this interesting subject to your students or lab members. Following the lessons you will get information on how to start teaching 3D design and printing and what steps you can take in order to encourage people to create their own models. We are presenting here examples of specific activities on several different subjects and requiring specific skills going beyond 3D design. Finally we are giving here some tips on evaluating the process and showing potential advantages of learning 3D techniques for entrepreneurship possibilities. AUTHOR OF THE MODULE: Łukasz Putyra
- 1. How to start an adventure with 3D design and 3D printing – theoretical introduction
- 2. How to start an adventure with 3D design and 3D printing – practice
- 3. First steps in 3D printing – models from the database
- 4. First steps in 3D printing – redesigning existing models
- 5. First steps in 3D printing – 2D-3D transformations
- 6. Experimenting with 3D printing – tutorial based ukulele
- 7. 3D Printing in artistic design – Star Guardian Janna costume
- 8. 3D Printing in artistic design – New Year’s masks
- 9. 3D Printing in robotics – OTTO DIY
- 10. 3D Printing of electronics – drone parts
- 11. 3D Printing of electronics – drones
- 12. Entrepreneurial advancements of 3D printing technique
- 13. Feedback and evaluation methods
13. Feedback and evaluation methods
Feedback and evaluation are invaluable when assessing your impact and when making tweaks and improvements. It’s always good to evaluate and reflect on your workshops. This does not necessarily have to be a formal procedure, but just a few minutes to think about what went well, what didn’t, and what could be improved.
There are a number of factors which will determine whether the 3D workshop was a success or not. But what does success look like? This is something you will need to decide. Do you have numbers in mind or any specific targets? Are the tangible results more important or fun or basic development of your participants? Are there things which went wrong but they are beyond your control? Reflecting on these will help you refine what you’re doing and improve moving forward.
Another thing is the method of evaluation. It will also depend on your goals and general circumstances in which the workshops are running. For some the final result, designed and printed object will be enough, in many cases, the process will be important too. Did we learn anything new? Did we acquire or develop specific skills? What were our expectations and aims?
From our perspective the most effective are:
- – participating observation
- – round tables
- – questionnaires
You can choose just one of them or make a suitable combination.
Participating observation is usually done by the trainer, sometimes together with other members of the team as a supervisor. Especially the first option is the least demanding for the participants and the least time consuming, but on the other hand, it is also the least objective.
Therefore it is good to supplement it with at least round tables with participants, where you can openly discuss the results and the work process. The round tables can be done after each session in order to enable making necessary improvements on a regular basis.
The questionnaires, especially the combination of the pre and post surveys, give you a chance to get more complex and precise data about the workshops. You decide on the number of questions if they are open or closed with fixed answers. You choose whether they will be in a paper or in an online form (Google forms for instance). Anonymous questionnaires are also a good opportunity for people who would like to share the critical opinion but they are afraid to say it openly.
In general, there’s no only one and the best method of evaluating this kind of activities. Everything depends on your specific situation. However, the above mentioned processes will be sufficient enough in most of the cases.