Although it is not something entirely new, the implementation of 3D technology in general is dramatically changing the world of the arts, giving artists new means of expressing their creativity. Recently, I had an opportunity to speak about this with Bridgette Mongeon, an American sculptor who uses many different digital and 3D tools to create many of her works.
Now, Bridgette has shared her experience and the information collected on the use of 3D technologies in the world of the arts in a new book, which the publisher kindly sent to me to review. Titled 3D Technology in Fine Art and Craft, the book is a full trip down the proverbial rabbit hole, into a world where everything is possible in terms of creative expression.
The book, like Bridgette herself in her work, does not cover 3D printing exclusively, as it ventures into everything that begins (or ends) with a 3D digital file, including CNC milling, 3D scanning, 3D modeling, and everything involved with finishing and creating large final versions of the works (through foundries and formative manufacturing processes).
Although there are many interesting aspects in 3D subtractive technologies as well, here at 3DPI, we are, of course, most interested in 3D printing exploration, which, in the book, corresponds to Chapter 7. The fact that the chapter begins with Autodesk director Maurice Conti’s comments on Joris Laarman’s work (most notably MX3D’s metal bridge that is currently being 3D printed in Amsterdam), demonstrates that Bridgette is as aware of technology and industrial applications as she is of pure artistic expression.
During an excursion into all aspects that an artist must keep in mind when designing for 3D printing (thin walls, watertight meshes, build envelope size, etc.), Bridgette also very much focuses on describing all major technologies, 3D printing services and 3D printer manufacturers (M3D and ExOne, among others), analysing what different possibilities these offer to different artists (both in terms of materials and geometrical liberty).
This line of reasoning then evolves into exploring some of the most prominent artists (and designers) that have already embraced 3D printing. These range from parametric, mathematical sculptor of metal jewels Bathsheba Grossman to ceramics 3D printing master Olivier Van Herpt, touching upon the design complexities of the multimaterial, multicolour work by Nick Ervinck and the unique, full-color statuettes by Eric Van Straaten.
After briefly delving in more extreme types of 3D printing – such as food and bioprinting – which undoubtedly hold some interesting possibilities in the not so distant future, even (perhaps especially) for artists, Bridgette goes on to analyze other artists who venture more into the artistic exploration finalised at product design. These include “21st Century Artist” Joshua Harker, and many others, like Nervous Systems and, as a logical conclusion that brings us full circle, to Joris Laarman Lab.
This is just the 3D printing chapter. Browsing the other ones, it appears clear that this is a must-read for anyone who wants to use the 3D tools of today and tomorrow for fulfilling at least one of his or her natural roles as an artist: do things that have never been done before.
