Graphic Arts Magazine November 2017 | Page 24

Feature Considering 3D printing? Here's what to think about Olivia Parker It looks like science fiction, but it's trickier than it seems 3D printing is like something out of science fiction. By pressing a button, one can produce custom, intricately designed prod- ucts using a variety of materials. In recent years, the process has evolved with technological innovations, unique applica- tions, and integrations into both for-profit and not-for-profit enterprises. With its scope and ingenuity, print businesses are now considering including 3D printing in their service offerings. I interviewed two individuals: the first is Laurie Mirsky president of 3DPhacktory, a full-service 3D printing and design studio in downtown Toronto founded in 2012, which offers high-resolu- tion, multiple material 3D printing to customers in a wide variety of disciplines. The second is Dr. Julielynn Wong, of 3D4MD and Medical Makers, who has utilized open source software, crowd-sourcing, and the accessibility of 3D printing in libraries and maker spaces to cultivate a community of humanitarian innovators who create low cost, quality-tested medical and assistive devices. But acquiring a 3D printer is not the only step, whether one wishes to make revenue or leverage the technology for social good; there are challenges that should be carefully considered. The question is what aspects should a business consider to achieve success. Know your customer 3DPhacktory serves a diverse array of customers from engin- eers to entrepreneurs to artists. However, Mirsky initially selected the business’s Dundas location because of its proxim- ity to the creative technical companies that service film studios in Toronto. “There’s fifteen stages within a ten minute drive of here…so part of our thing was, ‘okay let’s open up in a place that’s in the neighbourhood of [individuals] who will embrace this technology’ ” (Mirsky). It is not uncommon for 3DPhacktory to sit down with a production designer and help them quickly produce props that do not exist in real life. Whether it is a medical specialist on the other side of the globe, an astronaut on the International Space Station, or a patient searching for an affordable solution, 3D4MD has a large pool of potential clients. Regardless of who approaches them with a medical problem, the network of Medical Makers is always up to the challenge of creating a design these customers can produce with local resources. For example, Medical Makers developed a 3D-printed cup holder that can be installed on any model of wheelchair. Train staff well Both 3DPhacktory and Medical Makers rely on the skills of their 24 | November 2017 | GRAPHIC ARTS MAGAZINE team to generate revenue or crowd-source designs for social good. For 3DPhacktory employees are involved throughout the entire manufacturing process both as production and client- facing problem solvers. Mirsky explains, “the technical curve is huge. Staffing, finding the right people who can be conversant in all these softwares, be able to keep an eye on the machines, work with the different technologies and clients [is paramount]. So it’s really not just finding somebody…you’re paying a higher labour rate because you need to have a certain skill set.” Medical Makers’ approach is to incorporate the 3D printing education into their recruit- ment process. “Typically somebody would come to a Medical Make-a-Thon, we would train them on skills that would allow them to make solutions that would save lives, time, or money” (Wong). She elaborates, “We’ve trained Doctors Without Bor- der’s humanitarian workers on how to 3D-print items in the field. So if medical or other equipment breaks or supplies run out, they can email us, and our global community of innov- ators can use free software to make a 3D printable solution which we would ensure is printable and functional before we email it back to them in the field.” The old adage “the customer is always right” does not necessarily apply in the realm of 3D printing Manage the entire process 3D printing is one of those technologies that becomes sensa- tionalized. The two-minute clips a news station might present about the topic may fascinate an audience but they fail to capture the true reality of 3D printing. Aspects such as exten- sive post processing, the cost variations and physical property differences between materials, and the lengthy printing times are lost in a time-lapse video. Therefore, the old adage “the customer is always right” does not necessarily apply in the realm of 3D printing. When one possesses an expert staff, their goal is not only to produce the final product but also assess it, from digital file to completion. For example, trusting files from online sources is tricky. As Wong describes, “just because a design looks good on your computer doesn’t mean you can print it…I think the challenge Thingiverse and other open-source digital libraries face is that there is no quality control. And that’s fine, maybe, if you’re making a toy but that is not acceptable when it comes to 3D printing medical devices.” graphicartsmag.com