Modulated extrusion for textured 3D printing

This research utilises a Fused Deposition Modelling 3D Printer to investigate the aesthetics of 3D printing and it's broader applications. The presented research re-evaluates the 3D printer as a tool to manipulate materials, as opposed to a machine that discretely reproduces digital models at a fine resolution. The research questions the utility of automation, and attempts to find a level that permits materially expressive modes of fabrication. The exploration of aesthetics has uncovered a variety of unexpected textures and interesting material properties that may have wider use. For instance, rigid plastic has been extruded and manipulated finer than the extrusion nozzle diameter, which confers flexibility and fabric like qualities to the printed object. The discovered techniques for 3D printed aesthetics are reproducibly reliable and can be incorporated back into orthodox digital-model driven fabrication

An evaluation of the transferability of Munsell's colour notation methodology to modern inkjet printing technology

© 2015 SPIE. This paper examines the transferability of the Munsell system to modern inkjet colorants and printing technology following a similar approach to his original methods. While extensive research and development has gone into establishing methods for measuring and modelling the modern colour gamut, this study seeks to reintegrate the psychophysical and artistic principles used in Munsell's early colour studies with digital print. Contemporary inkjet printing, with ink sets containing a greater number of primary colorants, are significantly higher in chroma compared to the limited colorants available at the time of Munsell's original work. Following Munsell's design and implementation, our experiments replicate the use of Clerk-Maxwell's spinning disks in order to examine the effects of colour mixing with these expanded colour capacities, and to determine hue distribution and placement. This work revisits Munsell's project in light of known issues, and formulates questions about how we can reintegrate Munsell's approach for colour description and mixing into modern colour science, understanding, and potential application