The prototype in the video is fully 3D-printed, and also features a number of light-up aesthetic features, powered by AAA batteries. It’s lightweight, weighing in at only 3kg (6.6 lbs) and features metal joints with a carbon fiber/polymer body. Anyone under 5’6″ or much over 6’1″ need not apply, according to the specifications, which means even if I want it so badly my entire body burns I’d be taking a risk on not quite fitting within.

The creators of the Iron Man project are a team with an injection moulding factory out of Shenzen, the company tells me, including engineers with over 15 years experience in die casting manufacturing. The factory employs between 30 and 40 people, and currently produces toys, routers, smartphone parts and more. They’ve been working with designers in Beijing on the Iron Man project, and began producing small runs of the Iron Man helmet alone via 3D printing. To get costs down and volumes up, they’re looking to cover the costs of initial setup for a full-scale, injection moulding production run.

Backers can lay down pledges for either the full injection moulded suit ($1,999), a helmet alone ($1,800) or the full, 3D-printed suit ($35,000). The latter two will ship within three to four months, while the production run suits are expected to arrive between six and eight months out should the project prove successful. No cards will be charged until orders ship, with payments managed via Stripe.

The company also tells me that it’s working on a space-grade aluminum version of the suit, too, which it plans to put into mass production provided the initial campaign is successful. They declined to comment on licensing, indicating this isn’t a project with Marvel’s official blessing, but that probably won’t stop the superfan from drooling over this. And yes it’s $2,000 and it doesn’t even fly, but imagine the faces the next time you walk the con floor.

Marvel has unsurprisingly requested the project’s creators to stop selling these unlicensed works, so from now on it’ll be unavailable to buyers outside China.

Source: Techcrunch.com

Les menaces 3D

En tête des tendances lourdes et/ou menaçantes pour une certaine industrie, l’impression 3D. "En 2018, l’impression 3D aura provoqué cent milliards de perte en revenus de propriété intellectuelle au niveau mondial." Selon le cabinet Gartner, le prix en chute libre des imprimantes 3D va provoquer un clash inévitable avec au moins un constructeur de tech occidental et les fabricants et industriels pourraient connaitre ce qu’a connu la musique, de la part non pas de geeks ingénieux souhaitant reproduire chez eux quelques objets ou puces grâce aux plans trouvés sur Internet, mais de concurrents et fabricants impatients et tout à fait prêts à piller et reproduire leurs créations. 

Autre prédiction : dès la fin de 2015, les autorités sanitaires ici et là devront publier des réglementations sur l’impression 3D de tissus humains avant son développement anarchique. Le Bioprinting (impression biologique) est la branche médicale de l’impression  3D, dont on pense qu’elle pourra produire des tissus et organes un jour lointain.

Source: Www.atlantico.fr

That would make it appealing as an accessory for hobbyists who already own the MakerBot Replicator. It’s a low guess, but not unreasonable; since MakerBot today officially merged with the much larger Stratasys, which makes professional-level 3D printers for industrial prototyping, it has a lot of resources to scale the Digitizer up to cheap mass production.

At such prices, we could be about to enter an era that pundits have been wringing their hands about for some time: the age in which it’s possible to rip, mix and print physical objects with the same ease that was once reserved for music and other media. Indeed, US copyright czar Victoria Espinel has warned that it could lead to an increase in counterfeit and pirated goods. Some entrepreneurs seem eager to bring about this future: A company subtly named Pirate3D held a very successful Kickstarter campaign in June for its 3D printer, the equally subtly named The Buccaneer.

Makerbot’s competition, the Fuel 3D, is also a Kickstarter project (and also a very well funded one). The difference between it and the Digitizer is that the Fuel3D is handheld and can hypothetically composite a scan of anything, of any size, located anywhere. The Digitizer may end up cheaper and more user-friendly for MakerBot users, but it’s still limited to smallish objects that you can hoist on to your desk. They join competitors such as the Photon 3D scanner (around $450) and theNextEngine (around $3,000).

Updates on the MakerBot blog have shown a steady progression in the quality of 3D scanned and printed objects since the Digitizer was first announced in late April. The scanner will use a two-laser system to reflect light off objects in order to read their depth, and scans can be modified easily once digitized. MakerBot also claims that the software is great at filling in missing information, and that you can easily scale a design up or down before printing it. This is important, because it means you can turn cat figurines into earrings.

Source: Qz.com

AUTHOR: Tim Zaman, a researcher of the Delft University of technology, in collaboration with Océ, a company part of the Canon group specializing in professional printing technologies.

DESCRIPTION: Some people might wonder why 3D printing should be involved in the reproduction of paintings but anyone who has ever see up close a painting by Rembrandt will understand that the texture of the artwork is almost as important as its colors. Since texture implies depth, 3D scanning and subsequently 3D printing are the go-to technologies to achieve an accurate reproduction of painted pieces. Tim Zanan invented a simple method that can capture in a very high resolution the depth and color of a painting. Made of two cameras and a fringe projection, the system can capture 40 million points per shot. The 3D scan of Rembrandt’s The Jewish Bride contains 1 billion points making the visualization of the data on a computer screen virtually impossible. The best way to visualize it is to print it using Océ’s Fine Art 3D printer. In a few hours the copy of the painting with a resolution of 50 microns is completed.

AMUSEMENT RATE: The 3D scanning technology developed by Zanan could have multiple applications. It could help the restoration of a painting. There is also the obvious commercial use: cheap copies of famous paintings sold at museum’s gift shops around the world. No need to start a heated debate about the end of authenticity in art quite yet. If the combination of the 3D scan and Fine Art 3D printer do reproduce the artwork’s depth and color with great fidelity, the system is not yet capable of copying the transparency and glossiness of the original painting. We have a few years left before every body have exact replicas of the Mona Lisa in their living room.

Source: designboom

Source: Www.amusement.net