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Combining 3D printing with traditional crafts: Why is it needed and what is thr role of designer?

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They can help traditional crafts evolve in other ways and still give people the meaning of traditional crafts. It can also evoke the meanings of traditional crafts to the user in a social context.

Revival of Traditional Crafts

A Situation and Problems in Traditional Crafts

B Revival of Traditional Crafts

Research Objective

Traditional Crafts

A Declining Industry

In this 3D printer culture, people can develop, share and create as many products as they want. These digital tools such as the 3D printer can and will play an important role in the rise of small factories (Igoe & Mota, 2011).

Table 2.1.a. Changes in the Production of Lacquerware: Three Japanese Locality Examples (Beamer, 2010)
Table 2.1.a. Changes in the Production of Lacquerware: Three Japanese Locality Examples (Beamer, 2010)

A Combining 3D printing with Traditional Crafts

Designs for Traditional Crafts

A Design Interventions for Traditional Crafts

B What is the designer?

This research focuses on the benefits of 3D printers, the reasons why it is good to be combined with traditional crafts, and the role of designers in this combination. As mentioned, research into combination and the role of the designer has rarely been carried out.

Data Collection

From this we can find that crafts are things that have cultural significance by hand, but do not have to be useful.

A interviewee Selection

B. Interview Questions

2 What are the reasons why you started using a 3D printer and the advantages of doing so. The Amit Zoran case involved a face-to-face interview, while the other three cases were conducted as online interviews.

Table 3.1.a Interview Questions  1  Why did you start the project?
Table 3.1.a Interview Questions 1 Why did you start the project?

In case 3 there was three; two from a 3D platform company called Rinkak and one designer from Studio Shikumi.

Table 3.2.c Kabuku (Rinkak and Studio Shikumi)
Table 3.2.c Kabuku (Rinkak and Studio Shikumi)

Data Analysis

Second, becoming a unique and irreplaceable way to develop means that using 3D printer tools should only be one way. Second, value addition in terms of meaning means that the output must add value in the meaning of craft and 3D printers.

Table 3.3.a Results of checking coding frame for reliability
Table 3.3.a Results of checking coding frame for reliability

A Characteristics of 3D printer

In the center for traditional culture plus, Amit Zoran, Kabuku, Studio Shikumi and Earl Stewart are classified as designers. In addition, Traditional Culture Plusing Center is categorized as designer, government work, Amit Zoran and Earl Stewart are research and Kabuku designers, and Studio Shikumi is better suited for commercial use. In the second line in Table 4.1.a, Michael Eden suggests that we have many things to learn about using a 3D printer.

It's unlikely that people would normally consider the 3D printer tool to be easy to use, but it is very noisy. Rinkak and Michael Eden mention the concept of their 3D printer tool, the only tool similar to the tools we use today. Usually Michael Eden mentioned it a lot. Michael Eden said what he learned during the project was that digital tools do not replace what we use.

Rinkak also stated that just as artists in ancient times developed products using their own tools, digital tools are just one tool we have now. It suggests that they used 3D printing tools, especially 3D printers, to develop prototypes for the artists at the center. In this we can see that the ceramic artist has the concept of 3D printer tool as difficult to learn and only one tool as before, and designers working in the government organization use digital tool for developing prototypes.

B Advance of 3D printer

The second line says that the advantages are low payment and fast production according to the four examples. In the Traditional Culture Plusing Center, they mentioned that digital tool (3D printer) is now the right tool in Korea with low price and fast printing. In the third row, there is an advantage in the generative form without any limitation, which is mentioned by Amit Zoran, Studio Shikumi, Michael Eden and Earl Stewart.

In the fourth line, Earl Stewart mentioned that one of the characteristics in traditional craft is "Bespoke". This means that a traditional craft is made by hand over a very long time, at most six months or even a year. If 3D printer comes into this process, it can help to reduce those kind of processes that take too much time if they are made by hand. In the fifth line, the Kabuku project (Rinkak and Studio Shikumi) mentioned that 3D printer can help to start production easily.

In the traditional craft market, demand is difficult to properly research compared to products such as mobile phones. Digital tools can make and stop one product, which is why they can help run traditional craft businesses. Here we can note that most interviewees believed that digital tools provide an advantage in terms of time and cost.

Table 4.1.b suggests the advantages of 3D printer. In the second line, it says the advantages are low pay  and  fast  speed  in  producing  according  to  four  cases
Table 4.1.b suggests the advantages of 3D printer. In the second line, it says the advantages are low pay and fast speed in producing according to four cases

C Disadvantages of 3D printer

Traditional Crafts

A Characteristics of Traditional Crafts

In the second line, Studio Shikumi and Michael Eden suggest that traditional crafts are a process of challenging the past. This means that traditional crafts have evolved by challenging older craftsmen's techniques and trying to do better than them. Even these crafts come from the same pot by the same craftsmen, and yet the results vary from time to time.

He also mentioned that traditional crafts have different meanings judging by crafts in the fourth line. Smartphones have the same function when we buy it, but it is changed by people to use it as they want. Traditional crafts have a history and the experience of craftsmen as shown in the sixth line.

He was mentioned by Amit Zoran, Michael Eden and Earl Stewart, who said he liked the idea of ​​artisans. Michael Eden said traditional crafts have a story about why they were made, who made them for whom and what.

Table 4.2.a shows characteristics of traditional crafts. In the second line, Studio Shikumi and Michael  Eden suggest that traditional crafts are a process to challenge the past
Table 4.2.a shows characteristics of traditional crafts. In the second line, Studio Shikumi and Michael Eden suggest that traditional crafts are a process to challenge the past

B Problems in Traditional Crafts

Combination Project

A Need to Understand Traditional Crafts

B Warning about Using 3D printer

C Important Factors in Combination

So, the pendant was produced by 3D printing and the circular ornament on a string was made by African craftsmen. Michael Eden said that what he was doing was jumping 4,000 years bringing these two worlds together. This means that he tried to rediscover and reinvent using traditional crafts and 3D printing.

This authentic value comes from the dignity of materials and technology, and is a thing of almost 2000 years ago.

Figure 4.3.c Amit Zoran Vase Project (Zoran & Buechley, 2013)
Figure 4.3.c Amit Zoran Vase Project (Zoran & Buechley, 2013)

D Role of Designer

Therefore, he said, if the master has a drawing and accurate numerical values, he can help make a model.

E Important to Work with Others (Collaboration)

F. Ways to Evaluate

Finally, in the Center for Traditional Culture, the designer works to help develop modeling through handicraft work. In this project, people in the music field understood and were interested in him, but people in his research field could not understand it.

G Possibility for Social Innovations

Why Is a Combination Project Needed?

A Advantages of 3D printer

B What Should Care about Using 3D printer?

Also from the Rinkak case they mentioned the same opinion that using a 3D printer was only one way. In the case of Michael Eden (craftsmen) and Rinkak (3D Platform), they mentioned their perspectives on the 3D printer tool. They said that the 3D printer is just one tool, and is no different from the tools that craftsmen used in the past.

We can know that the 3D printer also has many advantages, it is still the same tool as before. In the cases of Amit Zoran, Earl Stewart and Rinkak, they suggested not copying from previous trades. For these reasons, we know that the 3D printer tool is the same as a tool we have used before.

There are already many production technologies, as well as practical and mass-produced items. So, the use of the 3D printer should have its own field where it is possible to emphasize their characteristics and advantages. For this reason, if we choose to use digital tools, then we should not copy and develop ordinary products.

C Contributions to Traditional Crafts by Combining

If there are other ways to make, then choosing the digital tool may not be the best option. We should think deeply about what things we will produce, which seemed impossible before, but are now possible using digital tools.

Role of Designer in a Project

A Role of designer following process

This means that as a designer they develop new types of designs, not just to replicate or copy materials. For this kind of reculture by Studio Shikumi, it is necessary to find a balance between 3D printer and traditional crafts by Amit Zoran. In this paper we found characteristics of traditional handicrafts; unpredictable in execution, with personal meaning and tailor-made.

In other cases, the 3D printer has predictable production characteristics, no restrictions on shape, etc. So designers hold themselves in place as mentioned, and they essentially play a role in developing a better product. Before producing the result with the 3D printer tools, it is necessary to consider whether the result is well developed.

This means that they must be sure that the result has no better way to develop further. Based on this, we can find that upper part of the chart that shows that role of the designer as an inventor, which. And in the lower part we can find the role of the designer as a communicator who communicates with the artisans and also the common people to convey a meaningful message of what the traditional craft has.

Figure 5.2.b. During & After project
Figure 5.2.b. During & After project

B Difference between Designer Participation or Not

From this we can tell that even craftsmen like Michael Eden have a similar attitude and behavior during the project, except that he understands traditional crafts. The examples seem to have a similar relationship to a new product development project combining a 3D printer with traditional crafts.

C Difference by Object of Project

Meaning of Research and Contribution to the Design Field

Limitation in Research

Future Research

K R 과학적 관점에서 보면 확실히 생산적인 기술이고, 제 말은 단일 제품을 멈출 수 있다는 뜻입니다. 아무래도 비용에 비해 정확성이나 해상도가 부족한 것은 아닐까요? 종종 박물관에서 본 물건에 관한 것이며 그 역사와 서사를 그 물건에 연결합니다.

M It's about challenging new technologies and making them what we want them to do, not necessarily what they plan to do. M It's also good to explore, but I think evaluate yourself critically and critically, don't just do it because we have this tool that you should use. In fact, you can degrade, you can take away a little bit of the quality, so it's about the suitability of these new tools in the technology.

It is important to create a good product, and we also want to deliver a meaningful message to a global audience. It is the project of producing Japanese craftsmanship products, so they had communication and organization of craftsmen of katana sword. Another criterion is how it is received by people, whether people react to it and how they react to the object.

K D also real craftsmen themselves he has own well or not is very important is good K D Especially in this new kind of project it is really important to have this kind of big well. So it's kind of like if you can say all the project member at the first glance, at the first they said good or not is the most important factor decision important output.

Gambar

Table 2.1.a. Changes in the Production of Lacquerware: Three Japanese Locality Examples (Beamer, 2010)
Figure 2.2.a Conceptual Model of Design (as a noun) (Ralph & Wand, 2009)
Table 3.1.a Interview Questions  1  Why did you start the project?
Table 3.2.a Traditional culture plusing center
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