Product Design with 3D Printing

3D printing allows us to dream. Not just because the freedom of design it enables is limitless, but because it’s a good way to test out our ideas and designs in the real world. This is especially useful for product designers like Elia Furgiuele.


Elia Furgiuele is a Swiss Industrial Designer who uses i.materialise to 3D print prototypes for his designs, and he can tell us a thing or two about how to use 3D printing to improve the design of his products to perfection.

He graduated in 2009 from the Technical Industrial Designer (SSSAA) course at CSIA in Lugano. He has worked as a building and industrial designer and since 2016 he is flying solo as a freelance industrial designer.

Elia has been designing for 3D printing since high school and is well aware of the important role that 3D printing plays in the process of creating a good design.

From idea to 3D print

Elia explains a bit more about the 3D design process that he follows:

“Usually, I use 3D printing to test dimensions, ergonomics, space, proportion, and usability. Using different colors and materials could add value and give a strong identity to my products.”

His favorite 3D design software is Creo Parametric.“It’s fast, user-friendly and it allows me to check the design thoroughly in a simple and intuitive way“. He even taught students how to use this design software in a class in collaboration with Parametric Design Suisse.


I use 3D printing to test dimensions, ergonomics, space, proportions and usability. Using different colors and materials could add value and give a strong identity to my products.

Prototyping for the best design

Elia 3D prints his prototypes in Polyamide (SLS) because he can choose from a wide variety of colors and because it’s more affordable than the other materials. “For the final product, I can choose the right material in terms of consistency, weight, reflection, color, and connotation”.

Design is also very important for the perfect 3D print: “Firstly, I would recommend being as clean as possible when creating your design in whatever software. Secondly, it’s important to consider the thickness of your design in order to remove unnecessary material and save money.”


Elia also suggests spending some time (and money) to print prototypes before printing a final product with a specific material, to be sure that your product works in real life.

For the final product I can choose the right material in terms of consistency, weight, reflection, color and connotation.

A 3D printing solution for each design

One of his recent projects is a cutlery set. “It was a big challenge because instead of thinking about one element, you have to think about a set of things that need coherence and consistency among them to make them feel part of the same family of ideas. After I had a clear idea, I used 3D printing to test the design!”

Another recent design is a cardholder. The original idea was to create a magazine holder but due to dimension limitations, Elia 3D printed the card stand instead to test the design. He also 3D printed a mold in standard resin to create the perfectly shaped finished concrete cardholder.

Design and materials, never-ending ideas

3D printing offers many options for designers in terms of materials, as well as the possibility to create prototypes and short series of products.

Elia has a project for an ashtray now and he wants to try alumide and copper for his product design projects.

Printing Press How This Work

A printing press is an unpredictable bit of high-accuracy modern gear that is intended to deliver printed material at a high pace and minimal effort per page. Printing presses are industrially accessible which utilize a few unique sorts of printing advancements, however the most widely recognized sort is called counterbalanced lithography. These presses are usually structured in either sheet-encouraged designs, which print on singular sheets of paper or other material, or web-nourished setups, which print on long trap of paper or other material, provided on enormous reels. A purported ‘full size’ sheet encouraged counterbalance press prints on sheets that are around 700 mm x 1000 mm in size (around 28 inches x 40 inches). “Half size” and “quarter size” counterbalance presses are additionally normal, and these machines print on sheets which are one-half or one-quarter as huge.

A counterbalance printing press has a different printing unit, or tower, for each shade of ink. A few presses have upwards of 12 towers, first printing 6 hues on one side of the sheet, at that point flipping the sheet over, in a gadget called a perfector, lastly printing 6 hues on the invert of the sheet. Typically dark in addition to the three subtractive essential hues (cyan, fuchsia, and yellow) are the 4 fundamental hues printed. Different inks added to these four fundamental hues are normally spot hues, which are profoundly soaked hues outside the shading array which can be accomplished with the subtractive primaries – these are generally utilized as logo hues, or they might be hues which are being utilized for some striking imaginative impact.

Figure 1

Each printing pinnacle has three principle chambers – the plate chamber, cover chamber, and impression chamber. Every one of these chambers is intended to have a surface which is somewhat bigger in region than the size of sheets which are printed by that specific press. The sweeping chamber is in the middle of the plate and impression chambers, and its surface contacts the outside of the other two chambers. The three chambers are pivoted at a similar surface speed, so their surfaces get in touch with one another without sliding. As clarified underneath, the ink picture is shaped first on the plate, at that point moved to the cover, lastly moved to the paper (which is hung on the outside of the impression chamber).

There is one lithographic plate for each shading plane, and these plates structure the picture. The plates work on the rule that oil and water don’t blend. Some other printing press advancements, (for example, flexography), use printing plates with raised regions which hold the ink, like a stamp cushion. There are likewise some other printing press advancements, (for example, gravure) which hold the ink in engraved breaks on what could be compared to the “plate chamber”. Nonetheless, lithography utilizes plates which are level to inside 1 micrometer – the inked territories in the picture are neither raised nor recessed by any tallness which is of any importance to this printing procedure. The plates themselves are most ordinarily level bits of anodized aluminum with a meager (around 1 micrometer thick) polymer layer on their surface. The polymer has the property that it is promptly wetted by the oil-based printing ink, yet not wetted by water. Then again, the anodized aluminum itself is promptly wetted by water, yet isn’t by the ink. Along these lines, basically, the polymer draws in ink and the aluminum pulls in water.

Before the press is prepared to begin printing, a picture is framed on the outside of each plate by specifically expelling bits of the polymer layer, in a PC to-plate machine which examines laser bars over the outside of the plate to evacuate the unneeded parts of the polymer layer. At that point the plates are folded over the plate chambers and precisely clipped set up. A sort of counterbalance press called an immediate imaging (DI) press, accessible since the mid 1990s, structures pictures on plates in situ on the plate chambers in the press, utilizing laser checking frameworks incorporated in the press. This is less basic than imaging the plates outside of the press on a PC to-plate machine. When the press begins printing, rollers apply a dreary water-based arrangement (called hosing arrangement or wellspring answer for) each plate, and this arrangement wets the zones where the polymer has been evacuated. After the wellspring arrangement is applied, different rollers apply printing ink to the plate, and this ink covers just the parts of the plate that still are secured by the polymer layer.

Figure 2

The inked printing plate presses facing the second principle chamber, the sweeping chamber. A delicate rubbery sheet, around 2 millimeters thick (called a counterbalance cover), covers the outside of this chamber. This cover is a particular element of balanced lithography – the ink in the picture moves first from the plate to the cover and afterward next from the cover to the paper. The benefit of the cover is that it is delicate and deformable, which empowers it to fit in with the surface forms of the paper and move a slim layer of ink (ordinarily 1 micrometer of ink thickness) to the paper both proficiently and consistently, disregarding the unpleasantness of the paper surface. The cover is held set up on the sweeping chamber by braces, like the way that the plate is held by clasps onto the plate chamber.

As the plate pivots into contact with the cover and afterward isolates from it, about portion of the ink on the plate moves to the cover. This ink picture goes on the outside of the cover as the sweeping chamber pivots and afterward comes into contact with the paper. As the sweeping isolates from the paper, about portion of the ink moves onto the paper. Printing presses are intended to print a similar picture page after page on an enormous number of pages, so it’s anything but an issue that solitary portion of the ink moves from the plate to the cover, and afterward half from the cover to the paper. More ink is included to the picture zones the plate during every transformation, as the plate goes under the inking rollers. Furthermore, during every transformation, half of the ink is moved to the cover. After some number of beginning “startup” revolutions of the chambers, the ink stream off of the plate becomes balanced to the ink stream onto the plate, and also the ink stream off of the sweeping (onto the paper) becomes evened out to the ink from onto the cover.

The paper which goes through a sheetfed balance press is held by grippers. There are numerous arrangements of grippers in the press, and the sheet is handed-off starting with one lot of grippers then onto the next as it goes through the press. Each arrangement of grippers comprises of various singular sets of jaws dispersed over the whole width of the main edge of the sheet (each pair of jaws is fairly similar to a smaller than normal pair of forceps which snatches some portion of the main edge of the sheet). Every impression chamber has a lot of grippers which hold the main edge of the sheet as the ink is applied to it. Different arrangements of grippers move the paper starting with one impression chamber then onto the next. The paper in a sheetfed balance press resembles a mallet in a multi stage sprint – one of the arrangements of grippers is continually holding it safely, and at every handoff the new arrangement of grippers connects before the earlier set relinquishes it.

Counterbalance presses utilize extraordinarily planned inks which are extremely gooey (with a thickness of around 100 Pascal – seconds, for example around multiple times more thick than water and multiple times more gooey than nectar). An unpredictable arrangement of rollers bolsters the ink to each plate chamber – commonly around 20 singular rollers for the ink supply to each plate. This arrangement of rollers parts the ink film various occasions, making a more slender and more slender ink layer as the ink moves from the ink supply toward the plate chamber. At the absolute starting point of this arrangement of rollers is a lot of ink keys: mechanical changes which control the thickness of ink streaming out of the ink supply. Each key controls the volume of ink which is imprinted on around 2 centimeters or so of the width over the printed page. These keys are balanced so the volume of ink streaming for every 2 centimeters or so of width over the page is coordinated to the picture region on that printing plate (for that shading) in that equivalent part of the page.

To begin a print run, the plates are first imaged and cinched onto the plate chambers on the press, one plate for each shade of ink. In some ongoing model presses, mechanized plate changing systems un-mount the plates from the past run and mount the new ones (generally this is a manual advance). Next the ink keys are balanced over the width of each ink supply framework. In some ongoing model presses, these are mechanized also, and the settings are taken straightforwardly from the picture thickness crosswise over of the width of each plate (which can be estimated utilizing a scanner, or taken legitimately from the PC to-plate record). At that point the press is begun running at a low speed. The underlying sheets which fall off of the press are painstakingly checked by the press administrator for enrollment (for example arrangement) of each shading plane, utilizing printed crosses and other arrangement marks. The administrator can change the situation of each plate in the two measurements as required with exactness modification gears while the press is running at low speed. The administrator additionally holds up until enough sheets have been printed to accomplish ink/water balance and to accomplish relentless state ink stream on every one of the arrangements of inking rollers, and afterward checks the optical thickness of test patches to confirm that the best possible measure of ink is being printed. With everything taken into account, introducing and altering another arrangement of plates takes a few minutes to maybe a few several minutes, depending of the level of computerization of the specific press and the ability of the administrator.

When the enlistment and shading are great, the administrator expands the speed of the press to its full creation speed. Current counterbalance presses work at speeds up to 18,000 sheets for each hour, or 300 sheets for every moment. On account of the enormous sheet size (around 700 mm x 1000 mm

How can you find the perfect bookkeeper in your region without paying to much?

The time that entrepreneurs spend on administration is on average around 16 hours a month. The most annoying thing when people are busy with boekhouder zoeken en gratis offertes aanvragen is that they don’t know the exact price of each bookkeeper. Many entrepreneurs who do their own bookkeeping do not even realize that they secretly spend so much time on it. These are all hours that come at the expense of the core business of the company. That is why here are 3 golden tips to save time on your accounting. Especially when it comes to finding a boekhouder in Groningen or a boekhouder in Haarlem it could be quite hard to find a reasonable price.


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Always keep an overview. By keeping your administration well, you prevent you from seeing the forest for the trees and sometimes spending hours, if not days, on your bookkeeping. Moreover, you can send your debtors invoices or reminders on time, so that they can pay you again on time. With current accounting you also have a better view of the payment behavior of your customers and you can take that into account. You are even obliged to keep your accounting up to date: if you fall behind in VAT months you run the risk of getting a fine.

2. Always keep all your invoices digitally

With an organized digital archive you ensure that your invoices cannot be lost and, moreover, you can search documents digitally much faster than if you have to plow through folders with piles of papers. Moreover, you can give your colleagues or accountant easy access to this digital archive and thus collaborate even more efficiently.

3. Outsource your accounting

It sounds logical that you save time, but of course outsourcing your accounting is also an investment. It is a consideration that you have to make. Keep in mind that many entrepreneurs often do the administration in the evenings and weekends. Outsourcing your accounting can therefore give a lot of peace. You also prevent mistakes, because as an entrepreneur you do not have all the knowledge in-house. In addition, you save a lot of time by outsourcing your accounting, because an accountant has just a few more tricks, making it all faster and easier. Up-to-date accounting also yields much more profit than costs for outsourcing these operations.

When you choose to outsource your accounting, always make sure that you are involved in the accounting by your accountant and have online insight. It is important that you see and understand what money flows in and out and that you can anticipate developments in time.

Gaming as Science Education? 21st century requires the guides and the understudies to incorporate innovation into the educational program. In spite of the fact that a definitive objective is to profit the understudies as far as learning and experience, unaided, chaotic or insignificant application can prompt total disappointment or have negative impacts. A portion of the negative effects of digital games all in all and in setting with the training are recorded beneath:

Digital games have been confronting consistent censure for purportedly improving animosity among children and building up a brutal streak at a beginning period. In an investigation by Anderson and Bushman (2001), Children associated with rough computer games are bound to have expanded forceful considerations, emotions, and practices, and diminished prosocial making a difference. Utilization of weapons and being compensated for being rough is a reason for across the board concern.

Digital games can be addictive for youngsters and make them physically dormant. Digital games, other than person to person communication, are considered for decreased physical movement prompting stoutness in kids and postural and skeletal issue.



Dependence on games is likewise known to make kids socially confined. Imprudent conduct, sorrow and expanded uneasiness levels are to a great extent credited to unnecessary gaming in kids. A few ponders likewise propose that the kids playing games can’t focus for a long range and have diminished capacity to focus.

All of the Many Resin Bound Color and Specification Options in the UK”