3D print of the Giant Pampathere (Armadillo)
3D printing is an emerging technology which is able to build a physical, real object from digital information. The mechanism of 3D printing is achieved by deconstructing of the virtual 3D object in 2D layers and printing the real object layer by layer. Today, many experiments and practical applications of 3D printing are exerting their influence in product manufacturing, medicine, or even entertainment. For example, manufacturers can 3D print a prototype of a product for purpose of preview before a mass production; dentists can make dentures for patience with 3D printing technology with a comparatively lower cost. The potential possibility of 3D printing is overwhelming and profound.
This project focuses to 3D print a heritage-related object. The subject of interest of this project is the Giant Pampathere (Armadillo) which is one of the life-sized late Pleistocene bronzes that are exhibited at the Lubbock Lake Landmark’s interpretive center.
Preparation and Method
A digital information (a virtual 3D object) is required before actually 3D printing a real object. The 3D model of the Armadillo is from the photoscanning project. However, the 3D model was not able to be used at first. Open faced holes on the armadillo would be a matter in the process of 3D printing. The function of “Close Holes” in PhotoScan is effective to fix the problem of open faced holes on an object. The 3D model below is the armadillo after the process of “Close Holes”.
The Armadillo 2 below has already been processed “Close Holes”.
Lulzbot Taz 5 is the 3D printer being used in this project. Cura is the supportive software communicating with Lulzbot Taz 5. The user of Cura is able to manipulate the printed objects as preferred, such as layer height, shell thickness or printing speed. The difference of settings influences the quality of the end product. No setting is perfect for all objects. Thus, different objects will need a particular setting in the process of printing. Users should fine-tune the setting based on the needs and purposes of the printed project.
Image A is the print setting of this project. Shell thickness defines the number of vertical walls that comprise the outside of the model. Fill means the density of material inside the object. Image B shows the inner fill of the armadillo which is the structure of grids indicated in yellow in Cura .
Support is necessary for a printed object with “bridges”. Cura will check if the printed object needs any support during the printing procedure. Image C shows the blue plastic structure which support the heavy body of the armadillo during the process of printing.
The printing mechanism is that the 3D printer will melt down the plastic filaments, and extrudes them from a nozzle on the bed to build the object. The bed remains actual temperature to avoid solidification before forming.
The video below is the printing process of the armadillo.
Image D and Image E are respectively the controlling computer and the Lulzbot Taz 5.
All in all, the end product of this project is satisfactory. It highly represents the physical shape of the bronze of the armadillo. Supports were enough in the printing and did not deform the body of the object. Parts of the detail of the armadillo could be clearly identified from the end product.
Even so, a better virtual 3D model is able to improve the quality of the end product. The virtual 3D model of the armadillo has a major problem. The unwanted parts, such as the grasses and rocks on the ground, are captured by mistakes in the process of photogrammetry. They eventually turned into meaningless structures in the end product. Red circles in Image F indicates the unwanted parts in the end product.
3D printing technology is going to be an important part of digital heritage. It is potential to enhance the functions of digital heritage, contributing to information sharing, conservation of heritage, documentation and researches. For example, 3D printed heritage objects are expected to serve as learning materials in classrooms; researchers can touch and study replicas of cultural objects away from its genuine articles. The future development of 3D printing technology and digital heritage is worth the wait.
References
3D Printing Basics by Jessica Stepp
