Fully revised and with a new chapter and international case studies, this second edition of the best-selling book traces how artists and designers continue to adapt and incorporate 3D printing technology into their work and explains how the creative industries are directly interfacing with this new technology.
Covering a broad range of applied art practice – from fine art and furniture-design to film-making – Stephen Hoskins introduces some of his groundbreaking research from the Centre for Fine Print Research along with an updated history of 3D print technology, a new chapter on fashion and animation, and new case studies featuring artists working with metal, plastic, ceramic and other materials.
A fascinating investigation into how the applied arts continue to adapt to new technologies and a forecast of what developments we might expect in the future, this book is essential reading for students, researchers studying contemporary art and design and professionals involved in the creative industries.
Arvustused
[ Review for the first edition] Overall, the book creates a nuanced picture of what 3D printing currently is and what it has the potential to become in the visual arts community. Hoskins . . . clear writing style demonstrates his expertise in the field while enabling readers with no previous knowledge of 3D printing to understand both the technical processes of creation as well as the artistic implications of this new technology. -- Amanda L. Milbourn, Assistant Librarian, Disney Consumer Products, LA, USA * ARLIS/NA *
Muu info
The second edition of this best-selling book explains how the creative industries are directly interfacing with new technology to change art and design practice across the globe. An in-depth survey profiling leading practitioners describes this process in action.
| Preface |
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6 | (2) |
| Introduction |
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8 | (6) |
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1 The history of 3D printing in relation to the visual arts |
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14 | (23) |
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2 An overview of current 3D printing technologies, what each offers and how they might develop in the future |
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37 | (21) |
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3 Crafts and craftspeople |
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58 | (20) |
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64 | (4) |
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Case study: Marianne Forrest |
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68 | (4) |
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72 | (6) |
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78 | (24) |
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Case study: Mat Collishaw |
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87 | (4) |
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91 | (4) |
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Case study: Jonathan Monaghan |
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95 | (4) |
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Case study: Sebastian Burdon |
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99 | (3) |
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5 Design and designers: case studies from contemporary designers |
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102 | (28) |
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110 | (4) |
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Case study: Laura Alvarado and Vivian Meller |
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114 | (5) |
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Case study: Dr Lionel T. Dean |
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119 | (7) |
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Case study: Dr Peter Walters |
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126 | (4) |
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6 Hackspaces, fablabs, makerspaces, arts research: the collaborative and more public face of 3D printing and its future in the arts |
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130 | (16) |
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136 | (8) |
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Case study: The Centre for Digital Design and Manufacturing (DDM) |
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144 | (2) |
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146 | (11) |
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Case study: Michael Schmidt |
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147 | (10) |
| Conclusion |
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157 | (3) |
| Glossary |
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160 | (5) |
| Index |
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165 | |
Stephen Hoskins is the Hewlett Packard Professor of Fine Print and Director of the Centre for Fine Print Research (CFPR) at the University of the West of England, Bristol, UK. He is the chair of the IMPACT International conference for Printmaking and the Association of European Printing Museums. A practising printmaker, his work has been exhibited worldwide and is held in major collections including the Victoria and Albert Museum and Tate Gallery in London, UK.
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