The people to whom I am talking believe in their expertise, integrity and autonomy as designer makers and applied artists, people who are open to learning new skills and open to the benefits of 3D digital technology: for enhancing their practice, helping make it more sustainable in the longer term – because they are concerned about the impact that climate breakdown is having globally. Hence this post on A 3D Digital Technology Journey: supporting a designer/maker’s more environmentally responsible practice. I am Ann Marie Shillito, a designer maker and jeweller, also co-founder and CEO of Anarkik3D Ltd. I have always been eco conscious. Covid lockdown
Wow! 12 years of Anarkik3DDesign and 3D haptic modelling In a series of over 20 banners we have summed up 12 years of Anarkik3DDesign, starting in 2010 and going through to 2022. Warm thanks go to our generous fellow AnarkikCreators for their permission to use images of their work to both demonstrate the amazing range of forms and objects that are possible with our Anarkik3DDesign haptic 3D modelling programme and promote what they do. Enjoy the scroll down. At the end are notes about why applied artists and designer makers are opting to use Anarkik3DDesign and why haptics is so appropriate for 3D modelling! 12
This post celebrates (in) – Somnium: new work by Katja Prins, a jewellery artist in Amsterdam. Katja was introduced to Anarkik3DDesign, a 3D modelling programme, by her fellow jewellery maker, Birgit Laken and was immediately fascinated by this intuitive way of designing! The image shows 4 brooches, with 3D printed forms combined with silver and other elements. “(in) – Somnium” is exhibited at Galerie Rob Koudijs in Amsterdam until 17th December 2022. In her practice, Katja Prins reflects on her fascination for the relationship between technology and the human body. She is interested in the ambivalence, contradictions, the thin line between good and bad, improvement
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.
To 3D print you need a printable digital model. The issue regarding the wherewithall to access 3D print technology is standard 3D design programmes as these are developed primarily for industrial designers requiring complex functionality to design for mass manufacturing processes. Applied artists, like myself, can’t afford the steep learning curves required to master highly complex prescriptive programmes. Not having the wherewithal to create sound 3D digital models to 3D print means that we can’t easily access this amazing technology. Looking for a way into 3D print technologies Colleagues and I researched, designed and created a remarkable 3D modelling tool for applied artists to work
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
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,
Anarkik3D’s object for VADundee’s #myVADundee is, of course, its haptic 3D modelling software and here’s the reasons why: V&A Dundee, as an international centre of design, presents the brilliance of Scottish creativity: Anarkik3D is a young Scottish company that develops world leading haptic enabled software which makes designing in 3D inclusive! What is really remarkable about their 3D modelling product, Anarkik3D Design, is the haptics because haptic means touch! So with Anarkik3D Design you experience the WOW sensation of actually touching and feeling virtual 3D objects and their properties of hardness and softness and use this in designing. The off-the-shelf robot-like haptic device is pretty