This paper introduces CeraMetal, a low-cost and robust approach to desktop metal 3D printing based on a custom "metal clay". We present three recipes for 3D printable bronze clay along with a workflow that includes print parameters and a sintering schedule. We introduce custom slicing software that generates continuous extrusion toolpaths for metal clay printing. We analyze the shrink- age, density, tensile strength and flexibility of prints produced with Cerametal and find the material’s performance comparable to parts produced via other bronze 3D printing methods. Finally, we provide several examples of 3D printed metal objects and a discussion of limitations and future research opportunities.
doi.org/10.1145/3613904.3642155
While 3D printing affords designers unprecedented geometrical complexity, fewer interactive design tools for multimaterial platforms exist. Recent work in resin 3D printing specifically promises fast, multicolor printing by growing fluidic channels concurrent with the object itself, infusing different resins spatioselectively into the vat; however, no design tools have been developed enabling users to interact with such novel personal fabrication machines \textit{in situ}. Here, we introduce an augmented reality-based design tool allowing users to engage with this multicolor fabrication method so as to "paint" growing 3D objects. We define the design process and mode of user interaction with our tool, Palette-PrintAR, which integrates situated 3D model manipulation with real-time computational fluid dynamics simulation and computer vision-based tracking and analysis. We detail our 3D printer hardware add-on implementation and AR software architecture, along with characterizing the design flexibilities and limitations of our AR-based multicolor fabrication method.
doi.org/10.1145/3613904.3642909
Direct manipulation has been established as the main interaction paradigm for Computer-Aided Design (CAD) for decades. It provides fast, incremental, and reversible actions that allow for an iterative process on a visual representation of the result. Despite its numerous advantages, some users prefer a programming-based approach where they describe the 3D model they design with a specific programming language, such as OpenSCAD. It allows users to create complex structured geometries and facilitates abstraction. Unfortunately, most current knowledge about CAD practices only focuses on direct manipulation programs. In this study, we interviewed 20 programming-based CAD users to understand their motivations and challenges. Our findings reveal that this programming-oriented population presents difficulties in the design process in tasks such as 3D spatial understanding, validation and code debugging, creation of organic shapes, and code-view navigation.
doi.org/10.1145/3613904.3642566
Touch fastening structures are widely used to quickly assemble and disassemble an object with multiple parts. However, such structures are under-explored in the context of additive manufacturing for personal fabrication. We proposed Touch-n-Go, a method for designing touch-fastening structures with customizable mechanical properties such as holding capacities or shearing strength. Additionally, the customization of fastener patterns enables both static and dynamic connections, and the dynamic connections grant the freedom of rotation and translation. To facilitate the customization process, we developed a design tool that allows the integration of fastening structures on the surface of a 3D-printed object. Furthermore, we validated the fastening properties of Touch-n-Go through a series of experiments, and the result exhibits performances that match or even surpass off-the-shelf fasteners. Finally, we demonstrated the implementation of Touch-n-Go through a collection of applications.
doi.org/10.1145/3613904.3642906
Clay 3D printing is a relatively new technology and only a narrow range of geometries is 3D printable if one is employing commercially available slicing software. We experienced these limitations in an artist residency program where artists discovered that many desired geometries failed to print successfully. This motivated us to develop WeaveSlicer, a slicer optimized for 3D printing in clay that maintains constant wall thickness throughout the form. We achieve constant wall thickness by generating an oscillating path where the amplitude of the oscillation is determined by the form's overhang angle. We demonstrate the effectiveness of our approach by comparing a range of successful prints, sliced by WeaveSlicer, to failed prints of the same forms sliced by Cura, a widely used slicing software. We then showcase a collection of complex artifacts designed by artists in residence that were constructed with WeaveSlicer.
doi.org/10.1145/3613904.3642622