Adobe’s Winston Hendrickson opened the London 3D Printshow this morning and provided an insight into the trends of the creative industry and it’s future, by reflecting on how technology has created an opportunity to push innovation in ways that were never conceived previously.
PURSUIT OF A VISION
The artistic world never stops converting ideas into content and creations. Since the dawn of time we have been chasing better ways to make an impact and improve ways that this is achieved. Over the decades, there have been many advancements in technology that supports this creative vision and has enabled us to make a creative impact, but also allows is to be more effective in a faster time.
‘Creative expression is a uniquely human experience and people are the best creative engines’
We can break down where we are now from history in to three distinct areas :-
Film, Digital and Content.
The arrival of the film camera in the early 1800’s opened up brand new possibilities for the visual arts. Pioneering artists such as Jerry Uelsmann embraced the invention of the camera and then found ingenious ways to extend what could be created with it.
Using techniques such as photomontage, combination printing, overpainting, and retouching, the work of these artists ranged from compensating for the limits of the technology (e.g. film emulsions being overly sensitive to blues causing skies to be overexposed), to create highly abstract works of imagination. These photographers opened up the artistic horizon and by doing so, prompted new inventions to happen.
Throughout this process a pattern emerged, each invention established new creative avenues and subsequently artists would then start to push the possibilities, taking ideas to different places. In turn, this activity led to new inventions and created a cycle that advanced the state of the art at an increasing rate over the previous years.
The arrival of the personal computer, Photoshop, and the digital cameras opened up vast new array of visual possibilities. More and more people were able to express themselves with images and explore a broad design space very quickly.
As Adobe moved from the Layers technology to the Healing Brush to the amazing Content Aware technology, new visionaries such as Bert Monroy, Maggie Taylor, and many others created groundbreaking new media that changed the world. Digital artists freely combined images, illustrations, paintings, 3D, and video in the pursuit of great work and were able to create highly compelling content.
With the convergence of Mobile, Cloud and desktop computing a new dawn of digital media is starting to take form and the creative process is once again going through a dramatic change. More diverse ideas are being expressed in digital media, at a faster rate and touching more people via different channels than ever before. Social networks have had had a huge impact on the way people interact with each other, as an example, people now tell stories with images and video, than using traditional text. This year alone will see more photographs taken than ever before. The world and how people engage and consume information is changing once again and at an even greater than than ever before. To put this into context, over 4 Zettabytes of digital information was consumed last year and this was a 50% growth on previous year.
The Future is already here
The 3D print journey began with industrial manufacturing in the 1980s, where it was used for prototyping and replacement parts. Recently, 3D printing technology has been applied to the medical, dental and aerospace fields. This advancement has lead to the creation of customised content and now personalised parts. But, through recent advancements in hardware technology and material innovation, the opportunity for artists to easily produce custom physical objects has opened up.
Creatives can now take advantage of a broad range of materials and produce 3D printed pieces that can exist in physical space as well as the digital world. This shift marks an inflection point for the 3D printing industry, and a new era of 3D printed content is emerging from creative artists from around the world. This shift has clearly marked a change in this industry – it has moved from a technology business into a content business stimulating huge growth.
Benefits of 3D and 3D Printing
There are three core attributes that make content more compelling for consumers, which will drive demand for that content and the tools and technology that enable it:
· Aesthetic – the visual appeal of the object
· Familiarity – such as branded characters
· Personalised – embedding a piece of the consumer within the content
3D printing can deliver on all of these. But, for 3D printing to achieve its artistic potential the process of producing content must be efficient, accessible, and of high fidelity. If we expand on these areas, the opportunity will present itself.
· Efficient – Designing 3D printed content today is complex and laborious. It forces artists to devote too much time and energy on the process instead of the result. Tools for empowering artistic expression is the key to creating great content. There is a need for the tools to allow artists to pursue their vision, without the distraction of complexities of technology. Ultimately artists are artists and not engineers.
· Accessible – not limited to just skilled specialists. It is critical that 3D printing becomes available to all creatives and tools which are familiar to them.
· High fidelity – The future of 3D printed content is colour. In history, colour has probably had the largest impact on the way that we consume content and the impact on media – photography, television, and movies are clear examples of how we expect to see colour in today’s world. Colour was the tipping point in each of these cases. And now colour has come to 3D printing!
Artists of all kinds, from graphic designers to architects to fashion design, now have the broadest horizons in history and can express their vision in more ways than ever before.
Adobe Collaborations at the London 3D Print Show
At the London leg of the 3D print show, Adobe has collaborated with some pioneering artists that are embracing full colour 3D printing as well as classic single colour and taking their digital creations into the physical world.
Francois Veraart – Freelance Graphic designer
Francois Veraart, a freelance graphic designer who has produced illustrations and images for worldwide advertising campaigns including Nokia, Vodafone, Tommy Hilfiger, and Heineken. Francois has over 20 years of experience as an illustrator and graphic designer but only started working with 3D printing late last year and was blown away by being able to realize his designs in the physical world. He has the amazing ability to composite 3D designs into photographs to make 3D art come to life.
For his piece, Francois created something not traditionally seen in 3D, a 3D poster.
Tobias Klein – Architect/Designer – World renowned 3D Printing Artist and Architect
Tobias Klein is a world renowned 3D printing artist and architect. He orchestrates the roles of an architect, designer and cultural agitator as the creator-craftsman. Tobias Trained as an architect and is working as educator, Tobias focuses on generating a intersection of contemporary CAD techniques and CAD/CAM technologies with site and culturally specific design narratives, intuitive non-linear design processes, and historical architectural references.
Tobias’ most recent project is titled ‘The Garden of Earthly Delights’. The work orients itself on the triptych altar piece “Garden of Earthly Delights’ by Hieronymous Bosch and propagates a long standing struggle and clash between the man-made items and the naturally grown environment.
Tobias is a long time Photoshop user and until recently his 3D work has been mostly in monochrome. Photoshop CC and the 3D engine has allowed Tobias to easily switch to using full colour as part of his designs.
Francis Bitonti –Fashion Designer
Fashion designer Francis Bitonti, is creating a new manufacturing paradigm through his blend of computational design techniques and emerging manufacturing technologies. Francis is able to blur the lines between fashion and technology, and merge cutting edge digital design with manufacturing technologies, Franics sees computational methodologies, smart materials, and interactive environments as opportunities to create new aesthetic languages for our environment.
Francis describes his method as “a collaboration with artificial intelligence”
Francis Bitonti’s work has been published internationally in many prestigious institutions including the Smithsonian Cooper-Hewitt National Design Museum and most recently has garnered media coverage for the 3D printed gown created for fashion icon Dita von Teese, which received numerous accolades and a great deal of public attention when it was debuted at Ace Hotel in New York City in 2013.
Francis’ piece is a capsule collection of shoes that is “grown” in the digital environment one pixel at a time. Each shoe in the collection renders a different system with unique structural configuration supporting the body differently each time.
All of our artists have used some Photoshop experimental technology from the Adobe labs that enables the use of gradient colour across their design, which was historically very difficult and time consuming to achieve. This special technology in Photoshop has also allowed the artists to streamlines their workflows, cutting literally hundreds of hours out of each persons process.
There are some amazing pieces of artwork in the London 3D Print Gallery and the Photoshop section has some art work that is truly
In addition to our artists, Adobe would like to thank and acknowledge Stratasys for their work enabling Fracois, Tobias, and Francis to produce full gradient color content using the Objet 500 Connex 3 printer.
Adobe and Stratasys share a common vision about enabling color for 3D printing and they worked closely with us to prepare content for this show.
The creative process has always been changing and evolving, constantly extending our creative reach with each new invention and the ingenious ways artists use them. We’ve entered a period where we’re witnessing the most significant changes in the history of technology and these advances are empowering artists to redefine “ground breaking” once again.
Our artistic horizons are as wide as they ever have been and, as Jerry Uelsmann said, no artist could wish for more than that.