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3D PRINTING
MULTI-MATERIAL
PRINTING:
Unlocking the
true potential
of AM
LET'S LUXURIATE....
Fabricant
dimprimantes
Rachel Park
Editor | Disruptive Magazine
rachel@disruptivemagazine.com
Twitter @DisruptiveMag | @RPES12
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INDUSTRY LEADING
3D PRINTING
Ultimaker 3D printers are the most reliable tool to bring
prototypes and functional models to life, in hours instead of
weeks. Coupled with industry-leading service theyre trusted
by professionals, educators and innovators worldwide.
18 | COMPANY PROFILE
& INSIGHT
Cooksongold
By Rachel Park
20 | FEATURE ARTICLE:
ON THE DESKTOP
Driven by Open Source
By Richard Horne
34 | FEATURE ARTICLE
A Paradigm Shift:
Multi-Material Additive
manufacturing
By Rachel Park
46 | ARTIST PROFILE
Shane Hope
By Dave Marks
51 | NEWS ROUND-UP:
A commentary round-up of
the latest news from across
the 3D printing ecosystem.
INDUSTRY INSIDER
3D PRINTING:
THE PERFECT
LUXURY ENGINE?
Kerry Stevenson
Additive technologies continue their slow and steady march into retail both
in behind-the-scenes development and in some cases, 3D printing for direct
manufacture. Kerry Stevenson explores the luxury retail market, asking: How do we
define luxury and how viable is 3D printing in creating goods for this sector?
Its time to talk about luxury items and 3D printing. Id like to investigate how these two concepts fit
together - or dont.
But first, lets look at a few definitions of luxury.
Dictionary.com
A material object, service, etc, conducive to sumptuous living, usually a delicacy, elegance, or refinement
of living rather than a necessity.
UrbanDictionary.com
An indulgence, something thats elegant, something
thats very expensive and brings great ease and
comfort. Sumptuous living. Something rare and difficult to obtain.
Wikipedia
In economics, a luxury good is a good for which
demand increases more than proportionally as
income rises, and is a contrast to a necessity good,
for which demand increases proportionally less than
income.
I think youll agree that after reading those definitions, there could indeed be a relationship between
3D printing and the concept of luxury items. Lets
take a closer look: The Wikipedia definition relates to
the price of an object, suggesting that higher priced
items might be considered a luxury beyond the reach
of most people. I think that while we might not agree
on the exact definition, price is certainly a major
factor in determining if an item is a luxury.
Price by Convenience
The price of the item is set by comparing it to the
cost the customer would incur when producing it
for themselves. In other words, this is a convenience
price, which provides the product for somewhat less
than the customer could make it for him / herself. This
is definitely not a luxury item approach, because its
applicable only to items that can reasonably be made
by most customers, like mowing a lawn, or fixing a
broken doorknob - its a commodity pricing method.
The Price Sets The Price
What? Yes, the price itself sets the price. Imagine the
following scenario: an item of at least reasonable or
even high quality is produced, but the price is set very
high - unreasonably high. So high, that almost no one
can afford to purchase it.
The world is a very, very large place however
and some people for whom money is not an issue will
buy the item in spite of the high price. Why do they
do that? The reason is quite simple: its because they
are almost guaranteed that no one else they encounter will also have one of these items. This is especially
true in fashion, where the goal is to be unique.
The price itself sets the price. The high price ensures
that the item is rare. This is an EXCLUSIVE, luxury
pricing approach.
In some cases, luxury products are conjured
from almost nothing by vendors, the best example
being airlines who make their standard product so
horrible that the decent service becomes a luxury
item by default.
Keep making the folks sitting in the back suffer,
and at least a few of them will buy the more expensive
seats in the front. The airlines further make the front
experience as exclusive as possible, with special club
memberships, and minor benefits that actually cost
very little for them to produce.
So, my theory is that a high-priced item is a
luxury, not so much because of the price, but rather
because of the exclusivity of ownership created by the
high price.
Now lets consider this theory against the
technology of 3D printing. As Ive written many
times before, 3D printing has a number of severe constraints, most often causing issues with typical manufacturing situations, but in the case of luxury items,
they may actually turn into positives.
Id say the relevant constraints of 3D printing
technology are:
High Costs of Production
The cost of 3D printed objects is quite high, mainly
due to the cost of the underlying print material, but if
youre producing a luxury object, this factor is irrelevant. You can easily price the final object far higher
than the actual cost of producing it using 3D printing
techniques.
Long Print Durations
The time required to produce a 3D printed object
is often quite long. In fact, it usually takes hours to
3D print almost anything, particularly when fine
detail is required, which would likely be a necessity
for luxury items. While a very expensive production 3D printer could crank out perhaps a few thousand identical fist-sized objects per week, a typical
mass-production facility using injection molding, for
example, could produce literally millions of units in
the same time period. In other words, 3D printing has
a limited capacity to produce objects - but in the case
Kerry Stevenson
A key focus for Kerry is the previously
impossible idea of replicating physical
objects directly from digital data. In 2007
Kerry created Fabbaloo now one of the
internet's oldest blogs exclusively dedicated
3D printing, which follows developments
and implications of replication
technology. @fabbaloo
01295 672500
BUSINESS PROFILE
COOKSONGOLD
Rachel Park
The primary benefit of AM for jewellery is the complexity it offers, but even here its not all straightforward, because some complex parts cannot be finished, or even polished if the geometry is unforgiving.
Furthermore, just because you can print a part in one
piece, it doesnt necessarily mean that you should.
David cited the example of optional settings for a ring
shaft. Any supports used on the M 080 have to be in
18 carat gold, so, while the support structure material
can be scrapped and refined, it adds significant overall
costs to the process to do so. Having seen firsthand
what is involved in the scrap process (and the resulting bullion bar!) its not something to be taken lightly!
Thus, Cooksongold is currently working on
extensive Design Guidelines for producing parts on
the M 080 platform. This is largely about educating
clients to enable them to maximise the potential of the
M 080, and to create parts that cannot be produced
in any other way. For this endeavour, the company
has engaged the talents of renowned designer Joseph
Jackson.
Another application where the M 080 shines
is sophisticated watch housings. Traditionally, watch
frames have been CNCd - so for a gold watch, this
would be from a block of gold bullion. Thus about
Rachel Park
Rachel is a passionate advocate
of 3D printing technologies and the
industry that has sprung up around
it. However, as the hype and hyperbole
has gathered momentum, her aim is
always to offer a reasoned voice in
the midst of inflated expectations
and to cutthrough the noise in order
to provide a realistic outlook
of how things are.
ON THE DESKTOP
DRIVEN BY
OPEN SOURCE
In this feature, I will look in greater depth at some of the OpenSource hardware, technologies and software that continue to
fuel the expanding desktop 3D printing sector... and before you
make a snap decision that its not for you, I would encourage
reading further - I'm also going to explain Open-Source licensing
terms so that youll know exactly what you can and can't do
with the great wealth of models, designs and even 3D printing
systems being shared globally by thousands of users.
The Open-Source hardware
association logo
If youre not familiar with Open-Source, or youre unclear as to what you can
or can't do with a model you have downloaded (or even a 3D printer you want
to build and sell!), this should provide plenty of background information and
will help to build your confidence in what can be a slightly daunting field.
Richard Horne
Open-Source hardware and software has driven both the development and success
of the desktop 3D printing market in recent years. Along with a desire for making,
investigation, education and development, the entire Open-Source ecosystem supports
an ever-expanding skill set that people can use as a springboard for Open-Innovation.
I'm going to focus more on the electronics, hardware and physical design aspects of Open-Source,
while using the history of our more-established
Open-Source software as a reference guide, to aid
understanding.
The Open-Source Hardware Association
(www.oshwa.org) has recently begun the process of
establishing a formal Open-Source Hardware certification process. This certification will help to define
those products and companies that are contributing
to Open-Source hardware innovation. In the current
scene, some clarity is definitely required (as you may
have discovered if youve previously explored OpenSource culture).
The Internet and 3D printing have helped to
make hardware more like software. Physical designs
and objects can be changed electronically, uploaded
and distributed all around the world as easily as a
software update. It may take a little longer to print
out a design and upgrade your device, 3D printer, or
appliance, but it's possible, its already happening and
the lines are become more blurred as time goes on.
In simple terms, just because something is
Open-Source or being shared willingly and often
without payment, it is still almost always not being
provided as 'free for any use you wish'. This is a vital
distinction to make with Open-Source designs and
projects. Almost all files, designs, models and information will be provided with a license. This license
will define what you (the user) can and can't do with
the information you have downloaded.
Whenever you create or design anything, you
are automatically protected by copyright. Whether
it's a photographic image, electronics design, artistic work or anything else, copyright usually has you
covered. You don't even need to display a Copyright
Logo to be protected, but doing so normally indicates that you wish to specifically highlight this
aspect.
Unfortunately, there isnt a universal international copyright law. Although copyright is now
more commonly understood and globally respected,
it's not something that will definitely stop someone
from taking your idea or product and just making
something similar. Determining whether something breaks / infringes copyright is still an issue for
lawyers to battle out, so while it's not always possible to protect yourself from misuse, you can apply a
license to better explain how you want to share the
design, idea or body of work.
Of course, if you want to keep the idea or design
for yourself, a patent can provide some extra protection. Only certain things can be patented, and I would
personally only recommend going down that route if
you have the funds to defend a patent infringement
(which usually costs several million dollars), so do
make sure you actually have something worth patenting in the first place.
Lego is a fine product example, a patented invention that had a good 20+ years to exploit and build a
global empire. Theyre now the biggest toy company
in the world and yet anyone can make compatible
Lego bricks. They just can't call them Lego. The
Lego company is confident enough in it's own brand
identity to survive and thrive even without the (now
expired) original patents.
3D printing however is at an interesting point.
It too has had 20+ years of patented 3D printing
methods. One could argue that due to the explosion
of Open-Source innovation (which happened in 3D
printing directly after those early patents expired) it
was nowhere near as well exploited as it could have
been.
Nevertheless, some very large and well-established companies like Stratasys and 3DSystems
managed to grow, selling more than enough products to industrial customers to make businesses
all around the world curious about this wonderful
technology. It seems that they just managed to keep
it well enough under-the-radar to maximise margins
and continue expanding their vast patent portfolios,
while not attracting the attentions of significantly
larger companies that could have gobbled it up all for
themselves. It'll be interesting to see where giants like
HP, with their MultiJet Fusion, will take the industrial 3D Printing sector and indeed which companies
will survive for the next 20+ years, with or without
patents.
Other well-established companies looking to
3D printing are starting to see the benefits of collaborating with a community in an open way. In recent
years, Autodesk has been promoting the Spark software platform and Ember (a hardware reference 3D
printing platform) to help develop the next generation
of stereo lithography. Although Autodesk is a software company, this is a very clever approach - by promoting a standard reference printing platform, they
can refine and develop more effective 3D printing
software tools for users. For those of you who fancy
peeking under the hood, Ember has been released as
Open-Source under the Creative Commons Attribution-ShareAlike license.
"It'll be interesting
to see where giants
like HP, with their
MultiJet Fusion, will
take the industrial
3D Printing sector."
Licensing 101
Lets look deeper into how licenses are applied and
used for hardware projects and physical designs:
Levels of control
The most selfless way to release anything you design,
make, or invent into the world is by releasing the
work as Public Domain (PD). This effectively waives
all your rights to copyright ownership, attribution as
the author or originator and allows anyone to use the
work for anything they wish without any connection
to you.
As you can imagine, not everything put up on
the Internet is given so freely. We can see projects,
software, books or artworks enter into the Public
Domain classification when copyright expires, which
can be 70 years after the author dies. More often, we
see educational material, old software, games and
designs submitted as Public Domain, usually when
there is little further commercial gain to be had from
them. There are a number of Public Domain icons
that you can use, and Creative Commons also provides a way to show that you intend the work to have
no rights reserved.
Creative commons
Many people now choose to use the Creative
Commons License. This can cover many aspects of
both hardware and software projects and also extends
to creative works. Full details about the licenses can
be found at www.creativecommons.org/licenses/
General Public Domain logo
Even when you print out a 3D printed object and put it on display,
you must display attribution for the model, and if that work has an NC
(non commercial) license, you cannot display it for any sort of promotion
or activity that may be considered commercial without permission
from the original author.
CC-BY-SA License
CC-BY-ND License
CC-BY-NC License
Timing
The greyer aspects of competitive business and OpenSource include decisions like: When to release the
source? Many companies choose to design behind
closed doors, going dark for a while before releasing a
product and then at some point after initial sales have
been made, they release the hardware source files,
usually around the time the design starts to become
'standard' for the community.
It's not always an ideal situation, but it can
work, and allows users to eventually upgrade parts,
improve the design or just see how things are put
together. Its worth bearing in mind Open Source
is not necessarily about every user wanting to view or
change the source files, but more about the fact that
theyre available for the community to work on. A user
may not have the skills to improve the design themselves, but will have significant confidence in the fact
that a groundswell of several thousand more people
may improve on it for them, and they can benefit.
"community
support becomes a
powerful sales tool
and in many fastevolving technical
industries, a
significant reason to
choose one product
over another."
Arduino
The very heart of almost all desktop and RepRap 3D
printers use an Arduino electronics control board.
These fantastic modular control electronics are used
for all sorts of hobby and educational projects - they
even get used for industrial applications around the
world. Arduino controllers are released as OpenSource hardware and software, licensed for use
with the Creative Commons Attribution Share-Alike
license. This allows for both personal and commercial use, but you must share the files in the same
way Arduino does and also give credit attribution to
Arduino with your designs or changes.
The Arduino brand has a registered trademark.
This does not offer any significant protection for the
product IP. Instead, it's a very good way to identify
and build a brand for the original work or products.
Arduino controllers do get cloned, and that's allowed
within the terms of the license, even for commercial
use. But the one thing a cloned board can't do is call
itself an Arduino or display the same marks on the
electronics printed circuit board. They can however
claim to be Arduino Compatible and run the same
Arduino software.
Since 2005, Arduino has been the world's
most popular electronics control board. It's always
been produced as Open-Source Hardware and has
a thriving community that supports the project and
its creators. When the Arduino LLC company was set
up, the development team continued to produce new
hardware designs, while an agreement with a manufacturing company called Smart Projects resulted in
the production of the different Arduino controllers.
Smart Projects would pay a royalty for each
control board sold so that the Arduino LLC team could
provide support via www.arduino.cc and run the
design company, while also continuing development
The Open-Source Smoothie control board for 3D Printers and CNC machinery
One such alternative platform choice for 3D printer manufacturers is by Create it REAL www.
createitreal.com This is another next generation ARM-based 3D printing control system, but it's
designed to be integrated and configured by Create it REAL for the specific 3D printing manufacturers who wish to use it. The hardware, firmware and desktop software application are all proprietary IP that's not shared as Open-Source. A small level of customisation with re-skinning the look
of the user interface can be done by the end manufacturer, but that's as far as Create it REAL go
down the Open-Source route.
The Open-Source Smoothie control board for 3D Printers and CNC machinery
The Smoothie platform is highly capable of providing enough performance for even the most
demanding 3D Printers and CNC machining systems. Although it's often difficult to see what will
become the next default platform, Smoothie is looking like the premier contender in the OpenSource arena for developers and manufacturers looking for machine and capability upgrades.
Smoothieware encourages you to use, adapt and even sell both hardware and control systems
to allow this platform to grow and to encourage worldwide adoption. If you make a significant
upgrade or remix of the hardware design or software platform, Smoothieware.org will even evaluate manufacturing it for you. It now has significantly higher chances of success than many of the
competing Closed-Source platforms.
The CreateitREAL electronics platform for 3D Printing
Richard Horne
Richard Horne is well known in the 3D
printing community as RichRap. Rich is a
highly passionate advocate of 3D printing
for all uses in industry, education and the
desktop. Since joining the open-source
maker movement and then the RepRap
project in 2009, Rich has been blogging,
developing and sharing ideas for the greater
global interest in 3D printing.
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FEATURE ARTICLE
A PARADIGM SHIFT:
MULTI-MATERIAL ADDITIVE MANUFACTURING
Rachel Park
Many experts assert that the materials we print with hold the key to unlocking
the immense potential of additive technologies. Exploring one of the greatest leaps
that has occurred in this ecosystem, Rachel Park charts the emergence of
Multi-material printing and looks toward its exciting future...
Introduction
Materials have long been identified as one of the
primary limitations of additive manufacturing (AM).
From the very outset, when only very specific photopolymers could be printed, right up to the present,
this complaint still stands. Today, the range of AM
processes (and the spectrum of materials that each
can process) provide far more options than could
have been imagined by the first inventors of additive
technologies. However, compare that choice against
the material pallet that can be used with injection
moulding and it still seems very limited indeed.
One of the more recent (and exciting) developments on the materials front for AM is the emergence of multi-material processes, which involve
using more than one material to print a part during
a single build. Its worth noting - multi-material 3D
printing is often misconstrued as a generic process
that can utilise any materials in any combination.
This is far from the current state of play, wherein the
number and types of materials that can be utilised for
multi-material 3D printing is still very restricted.
Indeed, very few of the established 3D printing / additive manufacturing processes can produce
multi-material parts. Only the jetting-type processes
and, arguably, the filament deposition processes
are capable of utilising multiple (i.e. more than one)
Historical Perspective
The first emergence of multi-material 3D printing
came in 2007 when Objet, (then independent of Stratasys), introduced its Connex technology, together with
the concept of Digital Materials. The Connex platform utilises the companys PolyJet process, which is
based on inkjet techniques. This was key to the unique
offering of the Connex500 back in 2007, specifically
On the Horizon
MultiFab
Just a few weeks ago, researchers from MITs Computer Science and Artificial Intelligence Laboratory
(CSAIL) unveiled a new experimental 3D printer,
which, they claim, can print with 10 different materials at the same time. Dubbed MultiFab the premise
of this platform is the development of a more accurate, economic and user-friendly multi-material
machine with significantly more material options
than commercially available platforms.
According to the CSAIL team, they built
the MultiFab platform using low-cost components,
including the inkjet technology, which can print at
a resolution of 40 microns (compared with the Connexs 16 microns), with the ability to directly embed
components such as circuits and sensors during the
printing process. Another interesting proposition of
the MultiFab machine is the inclusion of 3D scanning
techniques that enable the hardware to self-calibrate
and also to detect and feed back errors for each layer
as it is laid down. To date, the team reports that the
MulitFab platform has produced some specific products, including LED lenses, but the vision is for new
applications with electronics, micro-sensing, medical
imaging and robotics.
Voxel8
Founded by Dr. Jennifer A. Lewis, (Wyss Professor
of Biologically Inspired Engineering at Harvard),
Voxel8 is a commercial operation which is a spin out
from Harvard University. At CES in January 2015, the
company introduced its multi-material electronics 3D
printer and subsequently secured funding for technology development from In-Q-Tel (IQT), a not-forprofit, strategic investment firm.
The initial Voxel8 platform, which utilises the
deposition process, purports to allow users to print
circuits and electronic devices with conductive silver
ink on a desktop machine concurrently with typical
a range of disciplines including mechanical engineering, materials science, chemical and biological engineering and mathematics.
Herein lies the key to successful progress with
mutli-material AM - its not just about the materials
themselves. Simultaneous developments have to take
place within hardware and software to drive the
processes. This holistic approach is neither a quick,
simple or cheap endeavour and while some people
bemoan the lengthy activities of academic research,
they are the established foundation of progress.
Furthermore, the transition from laboratory to production line will likely take years rather than months
during the prove-out.
Indeed, while developments within materials
and hardware have been heralded as bringing the
major breakthroughs to date, the limiting factor has
proved to be software. Fabbaloos Kerry Stevenson,
in particular, has made this timely observation:
Consider the case of Stratasys Connex software: to use different materials, you must - in your
monomaterial CAD software - segment your object
into several pieces. Then, in the Connex driver software you painstakingly assign a material to each
segment. While this works, its practically restricted
to relatively simple uses of multiple materials. In the
case of dual or triple plastic extruder technologies,
the options are similarly awkward.
Kerry attributes this scenario to the low
number of multi-material machines and cites lack
Rachel Park
Rachel is a passionate advocate
of 3D printing technologies and the
industry that has sprung up around
it. However, as the hype and hyperbole
has gathered momentum, her aim is
always to offer a reasoned voice in
the midst of inflated expectations
and to cutthrough the noise in order
to provide a realistic outlook
of how things are.
The 3MF format - a strong proposition that needs more adoption in order
to fulfil it's full potential.
Disruptive Offer: Order your Pro 1 now and get 2 spools of filament for free
ADDITIVE MANUFACTURE
FOR A CONTEMPORARY
ART MARKET
Faith Robinson
The White Rabbit by Danny van Ryswyk: 3D Printed art that retains
strong elements of traditional sculpture. But what value are we placing
on contemporary digital creations?
Artefacts and art objects retain value through a number of different traits from cutural and emotional, right through to socio-political. Contemporary
sculpture in particular offers a platform for 3D printing, but how are art audiences
receiving and perceiving works produced via additive manufacturing?
Experience is
now thoroughly
influenced by digital
technologies... digital
art serves as a true
reflection of this
contemporary age.
To learn more about this process, I returned to the
practice of Nick Ervink: a Belgian artist whose successful use of additively manufactured sculptural
pieces has given him a global reputation as a leader
in the field.
Heleen Sabbe, the Managing Assistant at
Studio Nick Ervinck enlightened me with some details
of print editions, which I was not surprised to hear
are very limited. Of a particular work, between three
and eight prints are produced after which (under no
circumstances) can more be made. Due to cost, large
sculptures are not all made at one time, which means
that interestingly, first editions often sell at a cheaper
price than later 3D print editions of the same artwork.
Finally, 3D prints are worked on further in the
studio post print: We paint them by hand or apply a
lacquer to make them really glossy; this makes the sculptures different from a print directly from the machine.
Together, all of these details legitimise the
purchase power of the artwork. However, until the
processes involved in 3D printing a sculpture are
more commonly understood, it may be difficult for
collectors to see past the idea of a simple Press print
approach which, in this context, threatens the appeal
(and market value) of additively manufactured art.
Regardless of the era in which art is made, it
is rare for a piece of work to explore the material or
process through which it is produced. Artists make
their art to express an ongoing theme in their practice and although there is work that is concerned with
the particular way in which it is made, there are few
artists using 3D printing who specifically make art
about 3D printing.
THE WOLFPACK
IS EXPANDING
Faith Robinson
With an academic background in History
of Art, Faith Robinson is the Conference
Manager at 3D Printshow. She loves
aesthetics, and alongside writing, Faith
maintains a long-term dedication to the
creative industries and the aspects of
digital humanities involved.
/hawk3dproto
@hawk3dproto
01924 869 610
Hawk 3D Proto is part of Cutwel Limited, a leading
UK supplier of engineering cutting tools, work holding
systems, metrology and much more! www.cutwel.co.uk
www.hawk3dproto.co.uk
sales@hawk3dproto.co.uk
ARTIST PROFILE
Dave Marks
Threading science, art, and technology, Shane Hope uses open-source nanomolecular
design software to create and manipulate molecular models, which he assembles
by the thousands into painterly 3-D prints. Equal parts scientific and fantastical,
organic and digital, Hopes holographic creations hint at the infinite possibilities
of genetics and molecular physics, as well as the notion of hacking matter. As he
has said: The ability to assemble things from-the-molecule-up could give rise to
borderline costless systems for controlling the structure of matter itself.
Bandwidth of Built-Beings
Protocol-onization of Commons-Clusters
Computronium-Cloud Copyllution
Nano-Nonobjective Noo-Zoos (2014)
3D-printed PLA molecular models & paint on plexiglass
24 x 24
Category: species-tool-beings
overclockin cached-advanced chronoughty cognitive haze phraseologies pharmosomally flocusin femtofacturedfluidentifried-fleshionistas fee-willin click-fraud false-flag-phishin for masstaken-iPlentities so omega-pointless
slashdot-to-dot-subthreaded by buy/cellutility-swarms of soul-splinterferin speculativernaculareerin sumplace
skiddie snarfin sporgery zombie noo-zoos transubstrationally timeshearin-taggin envirornamentally-challenged
infomorphiliac-biorouters backscatterin bloodstream-slummin-it up hick-hackinstantial thought barrier robber
barons sapient-sopper see-source-serum sci-fi-lustratin morph-feral-foglet-fabbed fertilizer for fornicode for
misalignment-matter mogul mashmobsters manipulatin malfoamational anti-monay-yay markets for metacompetitive
metabolisms of things-executin-things
Filaments to trust
NEWS
COMMENTARY
By the Editor
The last month has seen a major new player step up to the plate, acquisitions that will
strengthen adoption in industrial 3D printing, the launch of a new 3D printing service from
Stratasys and a serious investment in the future of accessible, affordable metal 3D printing. Exciting times..
www.verbatim.com
Untitled-1 1
Autodesk to drive
adoption through
netfabb acquisition
5/12/2015 12:48:09 PM
Newly launched:
Stratasys
Direct Express
Ric Fulop
Desktop metal
printing gets $14M
investment
Cambridge, Massachusetts startup Desktop
Metal was born of a radical notion - the creation of a desktop Metal printer: Were trying
to make a machine that you can buy, plug it in,
and use it in your office, (Ric Fulop, CEO)
They were able to generate an impressive
$14M of VC investment through a roster of names
attached to the project that include Ric Fulop
and Yet-Ming Chiang, (co-founders of the battery
company A123 Systems and veterans of the 3D
printing industry), and Chris Schuh (head of the
Department of Materials Science at MIT).
Their first round of investment saw
them partnering with the likes of NEA, Kleiner
Perkins Caufield Byers, Lux Capital and 3D
printing giant Stratasys, alongside a number
of other venture capitalists and investors.
This points to an exciting future where
the tech that currently only the likes of NASA
can afford could be accessible to all:
Metal 3D printing has been out of the reach
of most companies because its very expensive and slow. Were developing a system
thats very fast and more accessible.
(Ric Fulop, CEO)
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