SchoolArts Magazine

APR 2014

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

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schoolartsonline.com 49 Advertiser Page Advertiser Page AMACO 55 CIII Bailey 13 Blick Art Supplies CIV Chicago Canvas & Supply 49 Conrad Machine Co. 43 Crayola CII Davis Art Images 2 Davis Publications 7 15 The Dinner Party Institute 41 General Pencil 45 46 Jacquard 46 L&L Kilns 45 NAEA 4 Nasco 18 46 INS PCF Studios 46 Royalwood Ltd. 49 SchoolArts 43 Skutt 1 Teach.org 54 United Way 11 Staff Picks Amazing Mold 17 The Ceramics Shop 17 Deleter 17 EZ Air 17 National Gallery of Art 17 Pixelstick 17 The Shop ArtEd 2.0 52 Bailey Ceramic Supply 52 Curator's Corner 52 Davis Publications 52 L&L Kilns 53 Nasco Arts & Crafts 53 Original Works 53 SchoolArts 53 The Teaching Palette 54 Youth Art Month 54 Advertiser Index school arts Inspiring Creativity since 1901 March 2014 $4.95 Responding school Inspiring Creativity since 1901 August/September 2013 $4.9 5 arts Investigating school a r ts Inspiring Creativity since 1901 February 2014 $4.95 Presenting Subscribe on the Web SCHOOLARTSMAGAZINE.COM -cation service provider, such as Ponoko (www.ponoko.com) or Autodesk 123D (www.123dapp. com) will provide explanations and guidelines on their various available processes and be able to assist you in selecting the best process and material for your project. When adding a digital fabrication project into a curriculum, it is essen - tial to allow enough time to receive your pieces from your chosen service provider. Typically, I stagger assign - ments so that students send in their digital files, work on another assign - ment until the pieces are received, then return to the original project to complete its assembly or finishing. For more specific information about the course I offer through the Col - lege of Visual Arts at the University of North Texas, please join my group on Facebook at facebook.com/groups/ UNTdigifab. All current assignments, along with images of completed stu - dent work, are available there. Don't be afraid to share any successful projects of your own! James Thurman is assistant professor in the metalsmithing and jewelry area, as well as coordinator of the three-dimensional design foundation courses at the University of North Texas in Denton, Texas. James. Thurman@ unt.edu W E B L I N K S www.shopbottools.com www.ponoko.com www.123dapp.com www.facebook.com/groups/UNTdi - gifab Continued from page 16. T E C H N O L O G Y Digital Fabrication James Thurman 16 April 2014 SchoolArts Continued on page 49. F or the past several years, I have been teaching an online course on digital fabrication. Students work with a variety of online resources to have their digital files made into physical objects. The objects are then critiqued based on images posted on each student's blog. The follow- ing is a basic introduction to digital fabrica- tion. While not all schools own the proper equipment, this can help to facilitate teachers who are interested in developing potential projects. What Is Digital Fabrication? Digital fabrication is commonly used by design professions who focus on physical objects, such as architects and industrial designers, but the tools and technologies have become affordable enough that even individual hobbyists can now pursue it. In my course, we focus on digital fabrication that involves the signifi- cant alteration of physical materials by a machine, guided directly by infor- mation from a digital file. The type of software used and type of file created are essential because the information within the file is what directs the particular digital fabrica- tion machine. Digital fabri- cation machines that use vector- based files typically cut, etch, and/ or engrave flat, planar materials such as paper, plastics, felt, leather, and metal. Smaller-scale projects (jewelry, tabletop, and other small functional/ decorative items) usually use a laser to cut the desired materials. Larger- scale projects (furniture, lighting, and architectural components) may use a laser, but might also use a waterjet cut- ter, plasma cutter, or router, depending on the material, desired accuracy, and budget. Approaches to Digital Fabrication For the creation of more dimensional objects, the two main approaches used are either additive or subtractive. The most common equipment used in a subtractive way is a Computer Numer- ical Controlled (CNC) router, which is typically used on softer materials, such as wood and plastics. There are a wide range of additive processes that were primarily devel- oped by manufacturing industries to create prototypes before putting a part into production. Most of these processes are referred to as three- dimensional printing. The simplest way to think of how three-dimensional printing works is to imagine a basic inkjet printer printing layer upon layer of a material to build an object—like a computerized version of a clay coil pot. Three-Dimensional Projects The best way to understand digital fab- The simplest way to think of how three-dimensional printing works is to imagine a basic inkjet printer printing layer upon layer of a material to build an object. WRITE FOR SCHOOLARTS! schoolartsonline.com/writersguidelines 49_End_4_14.indd 49 2/25/14 10:52 AM

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