Additive Manufacturing (AM) represents a maturing collection of production technologies also known as rapid prototyping, rapid manufacturing and three-dimensional printing. One of the most promising aspects of AM is the possibility to create highly complex geometries. Despite a growing body of knowledge concerning the technological challenges, there is a lack of methods that allow designers to effectively deal with the new possibilities. This article presents a literature survey on the impact that AM can have on design. The survey was focused on the new opportunities of fabrication processes, the relationship between structure and performance, and optimization approaches. We applied Olsen’s three-link chain model to relate product structure with performance, linked by strength, stiffness, compliance, dynamic, thermal, and visual properties. We also use this model to base our proposed Design for Additive Manufacturing (DfAM) method. The findings show that there is a growing body of knowledge in the field of design for AM (DfAM), yet only considers a subset of properties. Furthermore, the knowledge on materials, computational optimization, computer aided design, and behavioral simulation embody separated domains and related software support. This is in contrast with design engineering, which requires a holistic approach to conceptualize new products.
When designing a new nanostructure or microstructure, one can follow a processing-based manufacturing pathway, in which the structure properties are defined based on the processing capabilities of the fabrication method at hand. Alternatively, a performance-based pathway can be followed, where the envisioned performance is first defined, and then suitable fabrication methods are sought. To support the latter pathway, fabrication methods are here reviewed based on the geometric and material complexity, resolution, total size, geometric and material diversity, and throughput they can achieve, independently from processing capabilities. Ten groups of fabrication methods are identified and compared in terms of these seven moderators. The highest resolution is obtained with electron beam lithography, with feature sizes below 5 nm. The highest geometric complexity is attained with vat photopolymerization. For high throughput, parallel methods, such as photolithography (≈10 m h ), are needed. This review offers a decision-making tool for identifying which method to use for fabricating a structure with predefined properties.
A seventeenth-century canvas painting is usually comprised of varnish and (translucent) paint layers on a substrate. A viewer's perception of a work of art can be affected by changes in and damages to these layers. Crack formation in the multi-layered stratigraphy of the painting is visible in the surface topology. Furthermore, the impact of mechanical abrasion, (photo)chemical processes and treatments can affect the topography of the surface and thereby its appearance. New technological advancements in non-invasive imaging allow for the documentation and visualisation of a painting's 3D shape across larger segments or even the complete surface. In this manuscript we compare three 3D scanning techniques, which have been used to capture the surface topology of Girl with a Pearl Earring by Johannes Vermeer (c. 1665): a painting in the collection of the Mauritshuis, the Hague. These three techniques are: multi-scale optical coherence tomography, 3D scanning based on fringe-encoded stereo imaging (at two resolutions), and 3D digital microscopy. Additionally, scans were made of a reference target and compared to 3D data obtained with white-light confocal profilometry. The 3D data sets were aligned using a scale-invariant template matching algorithm, and compared on their ability to visualise topographical details of interest. Also the merits and limitations for the individual imaging techniques are discussed in-depth. We find that the 3D digital microscopy and the multi-scale optical coherence tomography offer the highest measurement accuracy and precision. However, the small field-of-view of these techniques, makes them relatively slow and thereby less viable solutions for capturing larger (areas of) paintings. For Girl with a Pearl Earring we find that the 3D data provides an unparalleled insight into the surface features of this painting, specifically related to 'moating' around impasto, the effects of paint consolidation in earlier restoration campaigns and aging, through visualisation of the crack pattern. Furthermore, the data sets provide a starting point for future documentation and monitoring of the surface topology changes over time. These scans were carried out as part of the research project 'The Girl in the Spotlight' .
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