WASP Collaborates with Artist Francesco Pacelli to Explore Potentials of 3D Printing Ceramics

The World’s Advanced Savings Project (WASP Project) has teamed up with artist Francesco Pacelli to advance their process as well as materials for 3D printing ceramics.

3D printing materials such as clay or other more viscous and fluid materials has some limitations to it when compared with polymers and plastics. Liquid Deposition Modeling (LDM) technology has restrictions in regards to geometries and overhangs and users have to deal with shrinkage of the material as well as the slow drying process. WASP believes that the material to extrude plays a key role for obtaining acceptable final results.

In order to set their focus on researching LDM technology, WASP has teamed up with artist Francesco Pacelli. Together they will explore the potential of various extrudable ceramic materials, set printing parameters and create mixtures in order to obtain functional 3D printed ceramic parts.

The LDM extruder designed by WASP and released last year, uses a compressed air tank that feeds an endless screw to selectively deposit clay.“The extruder works well, but there was still a big work to do related to materials and shapes achievable through LDM process”, WASP explains.

This is where Pacelli comes in. Becoming familiar with the process during his research at the +LAB at the Chemical and Material Engineering department of Politecnico di Milano, he teamed up with WASP in October last year. Ever since, they are working together on the improvement of the technology to show off its potentials in many fields, including design, engineering, fashion and biomedicals.

“So we’re very excited about the start of the collaboration between Wasp and Francesco and the opening of this new laboratory, a special place exclusively dedicated to LDM technology for ceramics 3D printing. In next weeks we will share updates about the experiments, the results achieved and the starting interactions with an important and historical place for ceramics such as Faenza and its ceramists, to establish a continuity between the knowledge of the past and the future of this contemporary digital technique.”