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Thursday, 19 March 2015

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Bio
Joshua Harker (b.1970) is an American artist considered a pioneer & visionary in 3D printed art & sculpture. His series of “unmakeable” technically complex tangles is credited as the first to break the design & manufacturing threshold of possibility. His pursuit of a process to bring his works into the 3rd dimension culminated after nearly 20 years in a perfect storm of software development, materials engineering, & 3d printing technology advancements. He went on to navigate the creation of his “Tangle” series in the archival material of cast bronze, thus bridging the traditional techniques of the past with technology of the present. To fully appreciate the gravity of the pieces one must understand the practical impossibilities of their existence. This has been considered a landmark event in the history of sculpture & the chronology of the 3D printed medium & has made him one of the most recognized artists in the field. Along with his techniques, subject matter, & execution, his experimentation in the dissemination of his art through digital media & the internet has garnered him international recognition & acclaim. He holds the #1 most funded Sculpture project in Kickstarter history & is among thousands of collections. His work has appeared in countless publications & press worldwide.

Declared a prodigy as a young child, he assumed the identity of an artist from his earliest pursuits. His parents were both artists connected to Grant Wood through his colleague & former student John Bloom & his wife Isabel. Joshua’s young life included post 60’s off-grid communal living, Hell’s Angels babysitters, complete artistic immersion, and family tragedy. Joshua attended the Kansas City Art Institute and St. Ambrose University as well as later studying anatomy & forensic arts. Joshua’s fascination with digital sculpture and 3 dimensional printing technology began as a commercial sculptor and designer in the toy, invention and design, special effects, and product development industries. In the late 90’s he founded a boutique design and development firm servicing some of the largest global properties and corporations. He served as its president & CEO through 2008 after which he left his post to return to art.

Curriculum Vitae

Artist’s Statement
“My art is about pushing the limits of form… an exploration into what can be made & how to accomplish it. I incorporate digital tools, software, & technology in my work not only out of utter necessity in the forms I make but also that I feel absolutely compelled to make art with it, to humanize the inhuman as we’ve done with stone, clay, metal, & wood… digital data as medium, computer as chisel, & 3d printer as forge.”

“My art touches on abstract neo-surrealism and is invariably contemporary. Stemming from 2D linear automatism explorations (pioneered by André Masson and practiced notably by Miró, Breton, Dalí, Arp, and Picasso), my “Tangle” series are intended to interpret and share forms evident in the mind’s eye but that cannot otherwise be described. My intent is to explore and give form to the architecture of the imagination. I have begun to apply this practice to representative forms. The linear pattern work is an exploration of the 3 dimensional surface giving a new identity to the shape & inviting the viewer to discover the form through the gentle visual lead of the pattern. I am currently bridging my 2D & 3D work via projection mapping my images & animations onto my sculptures in large scale live installations. The intention is to explore incorporating the 4th dimension of time into my pieces.”

“Bolstered by the advent of sculptural softwares, 3D printing technologies and material engineering, my visions are now able to be realized sculpturally in archival materials. Never before have forms of this organic complexity been able to be created. This boon of technology is a revolutionary time for the arts and one which will be boldly marked in history. I am honored to be considered one the pioneers in the medium.”

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Tuesday, 17 March 2015

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3d Biography

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melting) usually went by their own individual names in the 1980s and 1990s. Nearly all metalworking production at the time was by casting, fabrication, stamping, and machining; even though plenty of automation was applied to those technologies (such as by robot welding and CNC), the idea of a tool or head moving through a 3D work envelope transforming a mass of raw material into a desired shape layer by layer was associated by most people only with processes that removed metal (rather than adding it), such as CNC milling, CNC EDM, and many others. But AM-type sintering was beginning to challenge that assumption. By the mid 1990s, new techniques for material deposition were developed at Stanford and Carnegie Mellon University, including microcasting[9] and sprayed materials.[10] Sacrificial and support materials had also become more common, enabling new object geometries.[11]
The umbrella term additive manufacturing gained wider currency in the decade of the 2000s[12] as the various additive processes matured and it became clear that soon metal removal would no longer be the only metalworking process done under that type of control (a tool or head moving through a 3D work envelope transforming a mass of raw material into a desired shape layer by layer). It was during this decade that the term subtractive manufacturing appeared as a retronym for the large family of machining processes with metal removal as their common theme. However, at the time, the term 3D printing still referred only to the polymer technologies in most minds, and the term AMwas likelier to be used in metalworking contexts than among polymer/inkjet/stereolithography enthusiasts. The term subtractive has not replaced the term machining, insteadcomplementing it when a term that covers any removal method is needed.
By the early 2010s, the terms 3D printing and additive manufacturing developed senses in which they were synonymous umbrella terms for all AM technologies. Although this was a departure from their earlier technically narrower senses, it reflects the simple fact that the technologies all share the common theme of sequential-layer material addition/joining throughout a 3D work envelope under automated control. (Other terms that have appeared, which are usually used as AM synonyms (although sometimes ashypernyms), have been desktop manufacturing, rapid manufacturing [as the logical production-level successor to rapid prototyping], and on-demand manufacturing [which echoes on-demand printing in the 2D sense of printing].) The 2010s were the first decade in which metal parts such as engine brackets[13] and large nuts[14] would be grown (either before or instead of machining) in job production rather than obligately being machined from bar stock or plate.
M technologies found applications starting in the 1980s in product development, data visualization, rapid prototyping, and specialized manufacturing. Their expansion into production (job production, mass production, and distributed manufacturing) has been under development in the decades since. Industrial production roles within the metalworking industries[15] achieved significant scale for the first time in the early 2010s. Since the start of the 21st century there has been a large growth in the sales of AM machines, and their price has dropped substantially.[16] According to Wohlers Associates, a consultancy, the market for 3D printers and services was worth $2.2 billion worldwide in 2012, up 29% from 2011.[17] There are many applications for AM technologies, including architecture, construction (AEC), industrial design, automotive, aerospace,[18]military, engineering, dental and medical industries, biotech (human tissue replacement), fashion, footwear, jewelry, eyewear, education, geographic information systems, food, and many other fields.
In 2005, a rapidly expanding hobbyist and home-use market was established with the inauguration of the open-source RepRapand Fab@Home projects. Virtually all home-use 3D printers released to-date have their technical roots in the ongoing RepRap Project and associated open-source software initiatives.[19] In distributed manufacturing, one study has found[20] that 3D printing could become a mass market product enabling consumers to save money associated with purchasing common household objects.[21] For example, instead of going to a store to buy an object made in a factory by injection molding (such as a measuring cup or a funnel), a person might instead print it at home from a downloaded 3D model.Before printing a 3D model from an STL file, it must first be examined for "manifold errors", this step being called the "fixup". Especially STL's that have been produced from a model obtained through 3D scanning often have many manifold errors in them that need to be fixed. Examples of manifold errors are surfaces that do not connect, gaps in the models, ... Examples of software that can be used to fix these errors are netfabb and Meshmixer, or even Cura, or Slic3r.[22][23]
Once that's done, the .STL file needs to be processed by a piece of software called a "slicer" which converts the model into a series of thin layers and produces a G-code filecontaining instructions tailored to a specific type of 3D printer (FDM printers). This G-code file can then be printed with 3D printing client software (which loads the G-code, and uses it to instruct the 3D printer during the 3D printing process). It should be noted here that often, the client software and the slicer are combined into one software program in practice. Several open source slicer programs exist, including Skeinforge, Slic3r, and Cura as well as closed source programs including Simplify3D and KISSlicer. Examples of 3D printing clients include Repetier-Host, ReplicatorG, Printrun/Pronterface, ....

Scanned skull of Spinosaurusprinted in two sizes
Note that there is one other piece of software that is often used by people using 3D printing, namely a GCode viewer. This software lets one examine the route of travel of the printer nozzle. By examining this, the user can decide to modify the GCode to print the model a different way (for example in a different position, e.g. standing versus lying down) so as to save plastic (depending on the position and nozzle travel, more or less support material may be needed). Examples of GCode viewers are Gcode Viewer for Blender and Pleasant3D.
The 3D printer follows the G-code instructions to lay down successive layers of liquid, powder, paper or sheet material to build the model from a series of cross sections. These layers, which correspond to the virtual cross sections from the CAD model, are joined or automatically fused to create the final shape. The primary advantage of this technique is its ability to create almost any shape or geometric feature.
Printer resolution describes layer thickness and X-Y resolution in dots per inch (dpi) or micrometres (µm). Typical layer thickness is around 100 µm (250 DPI), although some machines such as the Objet Connex series and 3D Systems' ProJet series can print layers as thin as 16 µm (1,600 DPI).[24] X-Y resolution is comparable to that of laser printers. The particles (3D dots) are around 50 to 100 µm (510 to 250 DPI) in diameter.
Construction of a model with contemporary methods can take anywhere from several hours to several days, depending on the method used and the size and complexity of the model. Additive systems can typically reduce this time to a few hours, although it varies widely depending on the type of machine used and the size and number of models being produced simultaneously.
Traditional techniques like injection moulding can be less expensive for manufacturing polymer products in high quantities, but additive manufacturing can be faster, more flexible and less expensive when producing relatively small quantities of parts. 3D printers give designers and concept development teams the ability to produce parts and concept models using a desktop size printer.
§Finishing[edit]

Though the printer-produced resolution is sufficient for many applications, printing a slightly oversized version of the desired object in standard resolution and then removing material[25] with a higher-resolution subtractive process can achieve greater precision.
Some printable polymers allow the surface finish to be smoothed and improved using chemical vapour processes.
Some additive manufacturing techniques are capable of using multiple materials in the course of constructing parts. These techniques are able to print in multiple colors and color combinations simultaneously, and would not necessarily require painting.
Some printing techniques require internal supports to be built for overhanging features during construction. These supports must be mechanically removed or dissolved upon completion of the print.
All of the commercialized metal 3-D printers involve cutting the metal component off of the metal substrate after deposition. A new process for the GMAW 3-D printing allows for substrate surface modifications to remove aluminum components manually with a hammer.[26]
§Processes[edit]

Rapid prototyping worldwide 2001[27]
The Audi RSQ was made with rapid prototyping industrial KUKA robots
Several different 3D printing processes have been invented since the late 1970s. The printers were originally large, expensive, and highly limited in what they could produce.[3]
A large number of additive processes are now available. The main differences between processes are in the way layers are deposited to create parts and in the materials that are used. Some methods melt or soften material to produce the layers, e.g. selective laser melting(SLM) or direct metal laser sintering (DMLS), selective laser sintering (SLS), fused deposition modeling (FDM),[28] or fused filament fabrication (FFF), while others cure liquid materials using different sophisticated technologies, e.g. stereolithography (SLA). Withlaminated object manufacturing (LOM), thin layers are cut to shape and joined together (e.g. paper, polymer, metal). Each method has its own advantages and drawbacks, which is why some companies consequently offer a choice between powder and polymer for the material used to build the object.[29] Other companies sometimes use standard, off-the-shelf business paper as the build material to produce a durable prototype. The main considerations in choosing a machine are generally speed, cost of the 3D printer, cost of the printed prototype, cost and choice of materials, and color capabilities.[30]
Printers that work directly with metals are expensive. In some cases, however, less expensive printers can be used to make a mould, which is then used to make metal parts.

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Sunday, 1 March 2015

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3d Wallpaper Biography

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In June 2005, Cameron was announced to be working on a project tentatively titled "Project 880" (now known to be Avatar) in parallel with another project, Battle Angel (an adaptation of the manga series Battle Angel Alita).^[53] Both movies were to be shot in 3D. By December, Cameron stated that he wanted to film Battle Angel first, followed by Avatar. However in February 2006, he switched goals for the two film projects and decided to film Avatar first. He mentioned that if both films were successful, he would be interested in seeing a trilogy being made for both.^[54]

Avatar had an estimated budget of over $300 million and was released on December 18, 2009.^[55] This marked his first feature film since 1997'sTitanic. It is composed almost entirely of computer-generated animation, using a more-advanced version of the "performance capture" technique used by director Robert Zemeckis in The Polar Express.^[56] James Cameron had written an 80-page scriptment for Avatar in 1995^[57] and announced in 1996 that he would make the film after completing Titanic. In December 2006, Cameron explained that the delay in producing the film since the 1990s had been to wait until the technology necessary to create his project was advanced enough, since at the time no studio would finance for the development of the visual effects.^[58] The film was originally scheduled to be released in May 2009 but was pushed back to December 2009 to allow more time for post-production on the complex CGI and to give more time for theatres worldwide to install 3D projectors.^[59] Cameron originally intended Avatar to be 3D-only.^[60]

Avatar broke several box office records during its initial theatrical run. It grossed $749.7 million in the United States and Canada and more than $2.74 billion worldwide, becoming the highest-grossing film of all time in the United States and Canada, surpassing Cameron's Titanic.^[61] Avataralso became the first movie to ever earn more than $2 billion worldwide. Including revenue from the re-release of Avatar featuring extended footage, it grossed $760.5 million in the U.S. and Canada and more than $2.78 billion worldwide. It was nominated for nine Academy Awards, including Best Picture and Best Director,^[62] and won three for Best Art Direction, Best Cinematography and Best Visual Effects.

Avatar's success made Cameron the highest earner in Hollywood for 2010, netting him $257 million as reported by Vanity Fair.^[63]

Disney announced in September 2011 that it would adapt James Cameron's film Avatar into Avatar Land,^[64] a themed area at Disney's Animal Kingdom in Lake Buena Vista, Florida.In August 2013, Cameron announced his intention to film three sequels to Avatar simultaneously, to be released in December 2016, 2017 and 2018.^[65] However, on January 14, 2015, Cameron announced that the release dates for the three sequels were each delayed a year with the first sequel scheduled to be released on December, 2017.^[66]^[67] His original plans were to do Battle Angel next, but he changed his mind due to Avatar's success; "My intention when I made Avatar was to do Battle Angel next. However, the positive feedback for Avatar and the support of the message of Avatar, encouraged me to do more of those films."^[68] Cameron's Lightstorm Entertainment bought the film rights to the Taylor Stevens novel The Informationist in October 2012 with plans for Cameron to direct it. A screenwriter will be hired to adapt the novel while Cameron works on theAvatar sequels.^[69] Another project Cameron has announced is a personal commitment to shoot a film on the atomic bombings of Hiroshima and Nagasaki as told through the story of Tsutomu Yamaguchi, a man who survived both attacks. Cameron met with Yamaguchi just days before he died in 2010

Cameron received the inaugural Bradbury Award from the Science Fiction and Fantasy Writers of America in 1992 for Terminator 2: Judgment Day (Avatar would be a finalist in 2010).^[74]

Cameron did not receive any major mainstream filmmaking awards prior to Titanic. For Titanic he won several including Academy Awards for Best Picture (shared with Jon Landau), Best Director and Best Film Editing (shared with Conrad Buff and Richard A. Harris). Cameron is one of the few filmmakers to win three Oscars in a single evening and Golden Globes for Best Motion Picture – Drama and Best Director.

In recognition of "a distinguished career as a Canadian filmmaker", Carleton University, Ottawa, awarded Cameron the honorary degree of Doctor of Fine Arts on June 13, 1998. Cameron accepted the degree in person and gave the Convocation Address.^{[citation needed]}

He also received an honorary doctorate in October 1998 from Brock University in St. Catharines, Ontario, for his accomplishments in the international film industry.

In 1998, Cameron attended convocation to receive an honorary doctorate of Laws from Ryerson University, Toronto. The university awards its highest honor to those who have made extraordinary contributions in Canada, or internationally.

In 1999, Cameron received the honorary Doctor of Fine Arts degree^[75] from California State University, Fullerton, where he had been a student in the 1970s. He received the degree at the university's annual Commencement exercises that year, where he gave the keynote speech.

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