Centre for Fine Print Research at Printing for Fabrication Conference 2019


Carinna Parraman, Susanne Klein, Damien Leech and David Huson will be giving presentations on topic ranging from How to Print a Rainbow to Reimaging Digital Musical Instruments through 2.5D Printing and Robotic Ceramic Paste Extrusion for Industrial Prototyping, amongst others, at the Digital Printing for Fabrication Conference 2019 this week
https://www.imaging.org/site/IST/IST/Conferences/Print4Fab/Printing_for_Fabrication.aspx

Robotic Ceramic Paste Extrusion for Industrial Prototyping
David Huson
Ceramic additive layer manufacture employs a range of different technologies including ceramic paste extrusion, powder/binder jet, and UV and daylight cure ceramic loaded resins. Each of these technologies
has its own set of advantages and disadvantages. David will discuss his investigation into the possibilities of using a robot multi-axis system to enhance the capabilities of a ceramic paste extrusion process.

How to Print a Rainbow
Susanne Klein, Carinna Parraman, and Louis Voges
Additive manufacturing of optical components is one of the most challenging aspects in rapid prototyping, as optics demands not only excellent surface shape and roughness parameters for the outer geometry of the printed part, but also pose stringent requirements for the homogeneity of the printed bulk material. The researchers present an approach to inkjet print optical volumes, using the specific hybrid polymer ORMOCER and an optimized, multi-layer inkjet printing process to achieve shape deviations <20 μm PV, surface roughness in the range of <50 nm and a transparency of the printed bulk volume >95 %.

Printing the Muses: Reimaging Digital Musical Instruments through 2.5D Printing
Carinna Parraman and Benedict Gaster
Exploring cross-disciplinary methods of converting musical terms for tactile interfaces to enable people unfamiliar in creating music to be explorative through the development of novel musical interfaces, this project, funded by a UWE Vice Chancellor cross-disciplinary award, involves working with designers, coders, engineers, and musicians to translate musical terms for musical composition into a taxonomy that can be then converted into a physical interface or new musical instrument, e.g., zones of patterns, textured slider bars, different heights that contain different resistance. The approach tests different print technologies incorporating 3D and 2.5D printing, and a range of materials, smells, and textures. Surfaces need to quickly recognised in different conditions (e.g., humidity, darkness), and tests a range of materials for haptic and sensory comfort.

The Optical Properties of the Woodburytype—An Alternative Printing Technique based on a Gelatine/Pigment Matrix
Damien Leech, Walter Guy, and Susanne Klein
The Woodburytype is a 19th century photomechanical technique, producing high-quality continuous tone prints that use a mixture of pigment and gelatine as a relief print, in which the variation in height of the print produces the tone and contrast. The research team are working on a phenomenological optical model for the process based on Kubelka-Munk theory that considers the ink formulation, the print height, and the substrate surface in order to provide the ideal combination of printing depth and contrast.

3D Printing for Glass Casting
Claire Haley, Susanne Klein, Tavs Jorgensen, and Ryan Brown
Susanne Klein reports on cross-disciplinary research that investigated methods for streamlining the workflow for the production of small cast glass objects from 3D digital files, with a particular focus on how this workflow can be applied in jewellery manufacturing. The conventional method for lost wax casting, whilst effective, is lengthy and time consuming, could 3D printing provide a quicker and more efficient alternative? The research team investigated print material options for production of mould patterns together with the processes involved in converting these originals into usable moulds. They also investigated the parameters of the casting and finishing process, in order to achieve a finished piece of acceptable quality. The study enables evaluation of viable options for processing a jewellery piece from a digitally designed model to fabrication in cast glass.

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