{"id":27454,"date":"2016-10-11T17:55:18","date_gmt":"2016-10-11T21:55:18","guid":{"rendered":"http:\/\/www.shapeways.com\/blog\/?p=27454"},"modified":"2017-04-17T12:48:31","modified_gmt":"2017-04-17T16:48:31","slug":"tips-for-designing-in-porcelain","status":"publish","type":"post","link":"https:\/\/www.shapeways.com\/blog\/tips-for-designing-in-porcelain","title":{"rendered":"Tips for Designing in Porcelain"},"content":{"rendered":"

Porcelain is an ancient technology that has been transformed by modern machinery and 3D printing. Designs once impossible to create by hand are now possible using 3D printers. At Shapeways, we launched our very own porcelain process in 2014 that uses your 3D design file to print a mold and cast using our own porcelain material.<\/p>\n

As expected with all new technologies, there are limitations. To understand how to optimally design for 3D printed porcelain, it is important to understand the production process as well as the caveats of the material. Read on to learn about each stage of production and find tips on how to design in porcelain to make your finished objects just right.<\/p>\n

\"IMG_0196.JPG\"<\/p>\n

How is 3D printed porcelain created?<\/strong><\/p>\n

1. \u00a03D printing engineers check your design<\/p>\n

Once you place your order, your model file is sent over to our 3D printing engineers who specialize in porcelain. They inspect the model to ensure that the mold of the design can be printed and continue through the production process.<\/p>\n

2. \u00a0The mold is generated and printed<\/p>\n

We have developed software that generates a mold of your 3D file. You can imagine the mold as a shell or the negative space of your design. We will also generate a small funnel that will be used to cast your product.<\/p>\n

\"\"<\/p>\n

3. \u00a0The mold is cut and cleaned<\/p>\n

Once the model is taken out of the printer, it must be cleaned of all residual support material. In order to completely clear out all of the material, the mold must be cut to reach the interior. Imagine the mold as the \u201cskin\u201d of your model or the negative space. The mold and overall design must be able to hold together in order to eventually cast in porcelain.<\/p>\n

4. \u00a0The mold is reassembled<\/p>\n

After the mold has been cleaned out, it must be glued back together in order to cast. This creates a seam where the model has been cut and glued. However, this will later be sanded and repaired by hand.<\/p>\n

The exterior funnel will be glued to the mold for the next step in the process, casting.<\/p>\n

5. \u00a0Porcelain is cast in the mold<\/p>\n

The porcelain material is poured into the mold through the exterior funnel. The porcelain material within the mold will settle and harden.<\/p>\n

6. \u00a0The mold is removed<\/p>\n

Once the porcelain is fully hardened, the mold will be removed and the porcelain model will remain.<\/p>\n

7. \u00a0Model goes into first firing<\/p>\n

Immediately after the mold has been removed, the design goes into the kiln for its first firing. This hardens the design so that the model may be repaired and glazed.<\/p>\n

8. \u00a0Model is repaired and hand finished<\/p>\n

With the first firing complete, the model is strong enough to repair. There are a few types of repairs that may be performed. First, the porcelain team uses a variety of tools to carefully remove the seam lines left by the mold. Second, if the porcelain has not reached all ends of the mold or has generated any air pockets, these minor imperfections will be patched and repaired by hand.<\/p>\n

9. \u00a0Model goes into second firing<\/p>\n

If your model needed to be patched, the product will go in for a second firing. This cycle of repairs and firings can happen a few times in order to get your design just right.<\/p>\n

10. \u00a0Product is glazed<\/p>\n

Your design will be hand dipped in a liquid glaze. Any excess glaze on the base of the design will be wiped away in order to avoid the glaze from sticking to the kiln.<\/p>\n

11. \u00a0Glaze firing<\/p>\n

Once the base has been wiped clean, the model enters the kiln for the glaze firing. This will solidify the food-safe coating of glaze on the design. In some cases, the model may need to be re-glazed and fired due to unpredictable surface issues, such as small pin holes or patches that were not glazed fully. A re-glaze may cause pooling of glaze on the model.<\/p>\n

12. \u00a0Finished model<\/p>\n

The model is then packaged carefully and sent to the distribution center to be shipped off to you.<\/p>\n

\"\"<\/p>\n

What do you need to consider before designing in porcelain?<\/strong><\/p>\n

There are two aspects of porcelain to consider before you begin to design your product. First, the glaze that will coat your design. Second, the properties of the production process.<\/p>\n

GLAZE<\/p>\n

During the glazing process, your model is dipped in the thick glaze liquid. Excess glaze drips off and the base is cleaned so that it may rest on the kiln shelf without fusing to the bottom. While the model is in the kiln the glaze becomes molten. After cooling, the result is a stronger, hardened layer of colored food-safe glass.<\/p>\n

\"\"\"\"<\/p>\n

FIT AND HOLE CLEARANCE<\/p>\n

Our glazes run a thickness of 1 to 2 mm. This means that if precise fit and unobstructed holes are important to your model, ensure you have left at least 2 millimeters of clearance on EVERY wall.<\/p>\n

In the image below you can see two differently sized holes. The hole on the left is larger than 5 mm wide. This will allow the glaze to coat the inside without closing the hole. The hole on the right displays a 4 mm hole, the glaze will completely obstruct this hole eliminating the ability for clearance.<\/p>\n

UNOBSTRUCTED HOLE \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0OBSTRUCTED HOLE<\/p>\n

\"Screen<\/p>\n

The same logic applies for lids that fit onto containers. The lid should account for the glaze that will be applied as well as the container itself. Meaning, your design should have at least 4 mm of space between the lid and the container.<\/p>\n

DESIGN DETAILS<\/p>\n

Details of a design can get lost under a layer of glaze. It is necessary to consider the depth, height, and width of the detail of before submitting your design. On our porcelain material page, we recommend a minimum of 1 mm height and width of detail. If you are aiming for sharp details, consider making them greater than this minimum.<\/p>\n

We have published a previous post<\/a> depicting examples of details after being glazed in each of our color options. As mentioned, each color has a slight variation of thickness. For the clearest text or imagery, please ensure you accommodate for the glaze.<\/p>\n

\"IMG_0193.JPG\"<\/p>\n

SUPPORTIVE STRUCTURES<\/p>\n

Adding feet to your standing designs are useful for avoiding fully unglazed bases. While designing these decorative and useful features, there are couple aspects to keep in mind:<\/p>\n