As we gain more confidence using a given material (in this case glass), we start trying more interesting (and daring) geometries. This shape also has history in our lab. Most of the guests to our lab go home with a “free gift” and we like to focus on encapsulation (i.e. objects captive within other objects).
This test object is a sphere inside of a cage formed by three tori which are set at right angles to one-another.
Two Caged Spheres in Vitraglyphic Glass
Folks, we will be starting to cross post photos on Flickr. If we can figure out how to link our Flickr photos, then we will put all photos on Flickr. One of you WordPress wizards know how to link a Flickr photo? Thanks
{Please click the title to start the slide show}
Robert Taormina wrote in to ask.
“I was wondering if I could trouble you with a few questions.
Your article mentioned nothing about printer settings. Are you using a certain power and binder setting? Or did you have to set your own saturation’s? For our first test we used the XXX powder settings with some problems. I noticed that the first couple of layers “smeared”. What do you think the problem might be? Printhead going bad? Or saturation setting? “
One of the differences between our powders and “premium” powders is that you must be involved in the printing process. If you use “premium” powders, someone else has done all the work for you (and for this you pay them the premium price). You simply purchase, pour in powder, click the powder’s settings and go.
For our powders, *YOU* must embrace the saturation settings.
Try a stock powder setting = way too wet.
try 3/4 of a given stock setting.
try 1/2 of a given stock setting.
try 1/4 of a given stock setting.
try 1/8 of a given stock setting.
You want to explore the saturation settings until you get parts that slightly pull away from the surrounding powder when dry. Try letting them dry overnight. Or make several build plates (and after 1 hour dry time) remove build and bake in a convection oven for 1-3 hours @ 175 F.
Every material may require fine tuning until you are happy with the saturation settings. We’ve run hundreds of tests. Every time we test a new material we begin again.
{What you’ve just run is a part of a “design of experiments lab”. You will note that you have two parameters — shell and core settings. These are independent parameters. You now might think about locking either shell or core after your initial tests and then running the other parameter through all the ranges. It doesn’t take as long as you think AND you will know much more about the printing process than you did before (in case you need to trouble shoot)}
We use 10mm x 10 mm x 100 mm test bars. Then, we print one of our test pucks, and then continue on through various test geometries.
Printing four 10×10x100 mm test bars to test saturation.
Professor Stephen Hoskins, Director and David Huson Research Fellow from The Centre for Fine Print Research at the The School of The West of England stopped by for a visit. The Centre for Fine Print Research has recently been awarded a large AHRC grant to carry out research into 3D rendering and 3D printing (rapid prototyping).
We had a wonderful visit together discussing common goals and research objectives.
Our students got to spend time with our visitors presenting their projects.
We wish them safe travels and looking forward to future work together.
The Centre for Fine Print Research
3DP Ceramics from the CFPR/UWE team.
Why would you bother to print glass eggs? I mean it’s really not a very interesting or complicated shaped.
We had glass bird’s nests created on the bench by a team of glass blowers but we really needed some eggs. Therefore, we printed some eggs using our process. What do you think?
Bird’s Nests at UW Contemporary Glass Show
In a effort to find supplies used in the Vitraglyphic process, we have been looking for more companies to supply “powdered” glass. The Bullseye Glass company responded to a request for a sample of fine powdered glass. It was refreshing to have someone ask “What micron size do you need?”.
We took the glass and mixed up a batch of powder (per the 3DP Glass V2 recipe). It spread very well and produced a great surface for printing (look SE from the eggs to see the glass build surface).
Close-up of the print bed using new glass
We printed some quick test parts and ran them through a firing schedule up to 1200 degs F.
Eggs and Test bars (green=pink, fired=blue)
Please remember this is our first test run and first firing. I would say that we have a sucess with thisglass with this test. Lastly, It looks like about 25% shrink.
Since, the “little house” has been producing quite a bit of interest, we asked the creator/artist named Philippe Garenc (www.garenc.com) to provide us a statement.
“First I would like to thank the Solheim Lab for this philanthropic collaboration.
As a former student of European Center for Research and Training in Glassworks (CERFAV, www.idverre.net), I’m used to deal with glass. Both, I’m dedicated in 3d creation and specifically in 3d printing and I’m in charge of Visual Arts at CERFAV. That’s why Marie-Alice Skaper asked me to collaborate in this project.
We’ve tried to compare 3dp in glass powder with pâte de verre technique and with others models that we’ve edited with lost-wax process. But, results with vitraglyphic process were so surprising. I understood that I cannot model in the same way due to definition and firing. But I still think that this open research is very interesting for artists.
I dream about editing with this printer, pâte de verre like Henry Cros did at the end of XIXth century. Because 3dp in glass surface looks the same. I’d like to try to paint, like you did, enamels on and fired it. Today, I’m searching to design this piece, thinking in the way of vitraglyphic printing. I like the alchimy that exists between aim and materials. To be continued. …Philippe Garenc”
We always seem to be searching for the next fun item to print (as a test part). The trefoil shape has a rich history in our lab (dating back to the mid-90’s). We looked around for a quick trefoil to print.
After the first print, someone in the lab suggested that our pretzel needed some salt.
UW Contemporary Glass Show - Trefoils
Our lab entered this display into the first UW Contemporary Glass Show. The salt is
alpha-phase alumina (or as we all know it - White Sapphire).
Folks, thank you for your continued interest in our material. We just passed 5000 visitors today (not including us). We are attempting to build a community around 3D printing who are willing explore and share results.
We promise to keep posting if you keep reading. Thanks. ….Admin