Join in the discussion about using desktop 3D printers, and investigating using them more sustainably, designing better, and choosing eco-friendly materials. Wednesday June 22nd at 6 pm (UK time): Register here: https://www.eventbrite.co.uk/e/sustainable-3d-printing-for-applied-artists-tickets-355186972797
Anarkik3D is collaborating with Applied Arts Scotland (AAS) to make loaning Anarkik3DDesign, with the haptic device, an affordable 3D modelling option for their Members. The haptic device is essential to this programme as it both enables you to touch and feel in 3D as you manipulate and form your model, and to move the cursor in all directions. The special offer on the monthly loan fee for the package includes the hardware with the haptic 3D modelling software.
This is a post on Ann Marie Shillito’s personal interest about tacit knowledge and VR for Applied Artists: how we apply our ‘personal’ knowledge to working digitally and in virtual reality (VR). Ann Marie is a jeweller and joined Applied Arts Scotland’s DISTANCE2 Project to investigate ways in which makers could and would want to use immersive technology in their practice and to engage others with their craft practice. The theme that her small supportive group (ALM) focused on is how our tacit knowledge, as makers, enables us within our different disciplines to effectively make use of VR.
This is a blog about the explorations of 8 applied artists in Scotland into the potential of using Virtual Reality in their practice. The DISTANCE Project was initiated by Applied Arts Scotland
and the objective craft engagement, about collaborating and sharing experiences and objects in new and exciting ways.
Anarkik3D and Calm Technology As a new CEO of Anarkik3D in 2007, I perceived our approach to the development of 3D software as something like this: “Visualise an elegant swan gliding along calmly and effortlessly (a metaphore for our user interface) and under water superbly evolved webbed feet (the programme we build) paddle away relentlessly against the current (general computer applications) to get where it wants to be (a new enjoyable user experience)”. This core principle is the heart of Anarkik3D’s remarkable 3D modelling programme built specifically for designer makers for their way of thinking and doing. Anarkik3DDesign, with virtual 3D touch (haptics) The 3D
The nationwide ‘Leonardo da Vinci: A Life in Drawing’* exhibitions mark the 500th anniversary of his death. As part of the Ulster Museum‘s programme of events in Belfast, centred around their exhibition of Leonardo’s Drawings’ the Museum’s Education Officer organised workshops on 25th and 26th April on 3D modelling for 3D printing. The two one-day workshops were for teachers, designer makers and students and used Anarkik3D Design haptic 3D modelling programme. Workshop for school teachers The first workshop was for school teachers to experience haptic 3D modelling. The haptic sensation, as 3D virtual touch, makes Anarkik3D Design easy to access as no previous experience of 3D
ANARKIK3D DESIGN MASTERCLASS Q&A: “Intuitive Haptic 3D Digital Modelling” This masterclass was held on 13 Oct – 14 Oct 2018, in London, and run by Ann Marie Shillito. Q. Regarding the Anarkik3D Design Masterclass, what is the difference between a workshop and a Masterclass? A. A workshop is a more general learning environment for explorations within a theme, be that context, material or process. A masterclass is a more intensive learning environment for professionals within a specific discipline and run by an expert in that discipline. This masterclass has more clearly defined outcomes and is structured to achieve these. Ann Marie Shillito, running the masterclass,
International Jewellery Symposium A 3 day International Jewellery Symposium at the Fashion Institute of Technology in May in New York, in partnership with Politecnico di Milano, will discuss issues surrounding jewelry design and manufacturing, digital v handmade and the shift in recent years with the wider use of computer aided design and 3D printing. ‘….every tool, hand-held or digital—leaves its mark. This symposium will provide an arena for debate on how digital technology and making by hand duel for influence in the aesthetics, the use, and the cultural contexts of jewelry as both a manufactured product and as an applied art form.’ Paper and presentation One of the strands to be