The way you process your three dimensional data will depend on the 3D program you are using to model in. Different programs utilise different approaches to modelling, however, the following points need to be considered independently of your software type:
Ultimately the data you supply needs to be in .STL format. The three dimensional geometry created in your 3D program can be converted to this file format typically under the File8211;Export menu of most programs.
All geometry to be 3D printed must be in three-dimensions. Any two-dimensional geometry will not be processed or built by the 3D printer.
All three-dimensional geometry must consist of closed volumes. Further, all closed volumes must have a minimum of 1mm thickness. Single surfaces cannot be built.
Generally it is best to unify any parts that are attached in to one file, and surface normals should be correctly orientated.
Some issues can be fixed in our software, but some will need to be corrected first in the native software. With typical deadlines in mind, it is good practice to bring the model down to us as early as is possible to help identify any problematic data.
Once you have checked that your file consists of only three dimensional closed volumes you are ready to export your file.
Translate your model to the HOME axis of 0,0,0
Scale your file to final print output size
Change the units in your application to millimeters
Exporting an STL file usually involves the ‘Export’ or ‘Save As’ function. STL is the most common file format for use in 3D printing. Your three-dimensional design will be converted to a three-dimensional triangulated polygon mesh, made up entirely of triangles. STL stands for Standard Triangulation Language.
If your application does not export to STL the next preferred file formats are .3ds and .dwg. This format can be brought into almost any 3D CAD application and exported to STL from there.
Double check your .STL file to ensure it looks right and is to the correct size and scale
Glazes can be classified into two simple groups, which are earthenware and stoneware. These groups can also be classified by firing ranges for individual glazes. Earthenware glazes mature in the range 950°C to 1190°C, where as stoneware glazes fire in the range 1200-1300°C. Some crossover can occur between the high earthenware and low stoneware temperatures. For ease of selection sub-groups are arranged within these groups based on temperatures ranges. Other methods of grouping are based on colour or finish (e.g gloss, opaque, matt etc) or even speciality (e.g. raku). At Clayman we also include a third large group called Brush-on. These are glazes that were initially developed for the hobby market. but are now used by many studio potters and education, for the many additional qualities they offer. All glazes under brush-on start out life as a earthenware or stoneware glaze, but are then added to a media or gel that places them into permanent suspension to make application by brush easy. All brush-on glaze manufactured by Clayman are available in powder form as well.
CONSISE NOTES ON PREPARATION OF GROUNDS, PRIMINGS AND OTHER MATERIALS.
Former Keeper of Conservation
The National Gallery, London
In 1950 Arthur Lucas was invited by the Slade Professor, Sir William Coldstream to lecture and demonstrate the methods and materials of painting to Slade students, who previously (since the 1930’s) had been taught a course called Chemistry of Painter’s Materials, by Mr H Terrey from the department of chemistry.
Lucas taught twice weekly lectures and the Methods and Materials Room in the basement of the Slade was established. The room, now a sculpture studio, had a double sink and was fitted with cupboards around all walls to store equipment with surfaces for the preparation of materials. In the centre was a magnificent large table for the preparation of panels and stretching of canvases.
Arthur Lucas taught regularly at the Slade up until his retirement from the National Gallery in the 1980’s and then only occasionally. At the end of his career his notes where complied and produced at the Slade into this small book. It contains information on supports, grounds, glues, varnishes and frames and is a testament to his life’s work and dedication to teaching.
Many photographers feel somewhat restricted by conventional, commercial papers. Surface textures are limited and do not always suit the artistic vision of the individual. One way around this limitation is by using liquid emulsions, which can be coated onto many surfaces: paper, fabric, stones, tiles, wood, metal, and more. 8230;
Machine-made watercolor papers come in three surfaces:
Hot-pressed or HP
Cold-pressed (or NOT).
Rough watercolor paper has a prominent tooth, or textured surface. This creates a grainy effect as pools of water collect in the indentations in the paper.
Hot-pressed watercolor paper has a fine-grained, smooth surface, with almost no tooth. Paint dries very quickly on it. This makes it ideal for large, even washes of color.
Cold-pressed watercolor paper has a slightly textured surface, somewhere in between rough and hot-pressed paper.
Watercolor paper differs from manufacturer to manufacturer, so experiment not only with the different kinds of paper but also with various brands of paper.
The thickness of watercolor paper is indicated by its weight, measured either in grams per square metre (gsm) or pounds per ream (lb).
The standard machine weights are 190 gsm (90 lb), 300 gsm (140 lb), 356 gsm (260 lb), and 638 gsm (300 lb). Paper less than 356 gsm (260 lb) should stretched before use, otherwise it8217;s likely to warp.
Watercolor paper is usually white, but it need not be. A variety of cool and warm tints is available.
Use acid-free paper will yellow less with age.
Cold-pressed watercolor paper is called NOT paper because it8217;s not hot-pressed.
John Purcell Paper: http://www.johnpurcell.net/
Falkiners Fine Art/Sheperds Book Binders: http://store.falkiners.com/store/