3D Printing

Process and Experience

Without a personal laptop, I transferred my file to a USB and brought it to the lab. The staff was helpful throughout, and I appreciated how kind other students were when I asked for help.

Once the model was loaded into Cura, I had to choose a support structure. I learned there are two main options:

• Block-style supports: More material-heavy and slower to print.
  
  

• Tree supports: More efficient, less plastic, and only used where structurally necessary. I chose this method.
  
  

Watching the 3D printer work felt like witnessing something magical. But that magic came with a reminder: all this creation uses plastic. That’s something I’ve been thinking about more lately—how even creative tools can contribute to environmental issues. It reminded me of the King Midas story: the power to turn everything to gold sounds like a blessing, until it turns everything—even food and loved ones—into lifeless metal. For me, plastic is the modern gold.

Tools and Software Used

• Nomad Sculpt (iPad App): Used for digital modeling. I liked it for its clay-like sculpting feel and stylus control. It was intuitive and satisfying to use—like shaping virtual clay.
  
  

• Tinkercad: I didn’t use this for my project, but I teach it to my students. It’s simple, free, and based on building with basic shapes—perfect for learning the foundations.
  
  

• Ultimaker Cura: Used for slicing the 3D model and prepping it for printing. It has many features, and I needed help navigating it at first, but staff and peers were supportive.

Lesson Idea for the Classroom

Lesson Title: Eco-Creatures: Designing for a Sustainable Future

Grade Level: Middle School or Early High School

Objective:
Students will design and 3D model a creature that reflects themes of environmental adaptation, resilience, or sustainability. The goal is to think critically about how art and design can raise awareness about ecological issues while learning the fundamentals of digital modeling and 3D printing.

Essential Question:
How can we use 3D printing to imagine a better relationship with the environment?

Prompt:
“Design a creature that lives in a world affected by climate change, pollution, or other environmental challenges. What does it look like? How has it adapted? What message does it carry about survival, regeneration, or balance with nature?”

Materials:

• Computers or tablets

• Tinkercad (free, beginner-friendly) or Nomad Sculpt (for more advanced sculpting)

• Ultimaker Cura (or other slicing software)

• Access to a 3D printer using PLA (or other eco-friendly filament)

Extension Ideas:

• Write a backstory or illustrated fact sheet about the creature’s habitat and traits.

• Research sustainable materials for 3D printing (like PLA or recycled filament).

• Explore how 3D printing can be used for environmental problem-solving (e.g., coral reef restoration, biodegradable tools).

Sustainability Connection:
Encourage students to consider material impact. Discuss how:

• PLA is a plant-based filament and more biodegradable than traditional plastic.

• Failed prints can be reused in some classrooms with shredders or filament recyclers.

Artist Inspiration

One contemporary designer who considers the environmental impact of 3D printing is Charlotte Dann. Unlike most 3D artists who rely heavily on plastic, Dann experiments with more sustainable materials like PLA—a plant-based, biodegradable alternative. She also promotes mindful, small-scale production instead of mass manufacturing. Her work reminds us that digital tools don’t have to come at the expense of the environment. This aligns with my own concerns: 3D printing feels magical, but that magic becomes questionable when it turns everything into plastic. Artists like Dann offer another way forward—one where innovation and care for the planet go hand-in-hand.

Personal Reflection on 3D Printing

My experience with 3D printing was fascinating. The MIX Lab reminded me of an art studio—except instead of clay, wood, or metal, students were working with machines, electronics, and digital models. It was buzzing with creativity. I love environments like that—places where ideas cross-pollinate, where people work side by side, and where simply observing others can spark your next idea.

Even though it felt technical, the lab still had the same energy as a sculpture studio. It made me think about how the definition of “craft” is evolving. Instead of hammer and chisel, we now also use styluses, slicers, and extruders. But the creative spark is the same.