Reflections on a Collaborative Research Project in Digital Moulding for Glass Casting and Artistic Interpretations

Abstract

This is a two-part paper: firstly, describing a collaborative research project aiming to provide innovation in glass investment casting through the exploration of digital fabrication methods. Secondly, illustrating examples of the artistic exploration of this process alongside digital technologies, like 3D scanning, in the pursuit of mixed media artefacts.

It will therefore compare traditional moulding and construction methods with digital fabrication methods. The paper is written from the perspective of a glass artist with little experience of digital technologies and discusses the impact of the collaboration upon her working methodology and creative output.

This research project was initiated in early 2010 at Affiliation C by Author B, Research Fellow in 3D Digital Production, and Author A, Senior Lecturer in BA(Hons) Contemporary Crafts: both are members of a research group at Affiliation C. The aim of the project is to explore ways of combining Author A’s specialist knowledge of kiln-formed glass and Author B’s experience with digital design and fabrication technologies.

Author A previously collaborated with Aaron McCartney by providing a case study for his PhD research into ceramic shell moulding, which had not previously been explored in terms of glass casting. Whilst this technique had numerous significant advantages compared with conventional glass moulding techniques, this method presented a number of technical challenges for users and has so far seen limited adoption by the glass community. The impetus behind Author A and B’s research project was to utilize Author A’s knowledge of the ceramic shell process by extending its application and relevance when combined with emerging digital fabrication technologies.   

This research has now successfully established an entirely new method of creating glass casting moulds directly from three-dimensional CAD files without the need for a physical mould pattern. The method developed is based on Additive Layer Manufacturing (ALM) technology using a three-dimensional printer, a process commonly known as ‘Rapid Tooling’ (RT). The inner part of the mould can be printed on a 3D printer and strengthened by the application of refractory outer layers. Through examples of Author A’s creative practice, which employs both conventional and digital methods of mould production, the paper will illustrate a number of unique advantages of RT digital moulding including: accurate glass casting, economies in mould production and firing schedules which could have an impact on studio and institutional glass casting production methods.

The success of the project has resulted in sponsorship from the sector leading companies ZCorporation (US) and Gaffer Glass (NZ).

The paper will also reflect on the personal struggles of finding an artistic application/voice for digital tooling, especially with a restrictive digital skillset to draw on. Issues concerning autonomy of production, aesthetic values and relevance to established artistic concepts and material language are discussed. Author A’s current artistic practice concerns low-tech construction methods to assist with the exploration of concept over and above the technical process and so the paper will also address the dilemma of how to use digital tools to help realize and stay true to the original ethos of making. 

uwe.ac.uk/sca/research/cfpr/research/3D/research_projects/towards_a_new_ceramic_future.html