We have an exciting summer season of jewellery CAD short courses planned at the British Academy of Jewellery in London starting 12 June. If you’ve been reading about the CAD training here but have been curious about taking one of the CAD courses I’ve developed, now is your chance.
Shapeways has published a simple but useful article outlining three common ways in which a traditional hand making jeweller could take advantage of 3D printing.
They’ve covered most of the good points of using CAD/CAM for jewellery in plain language– the idea of building a virtual collection, the idea of not working at the bench, and the idea of testing models for fit. I would also add the advantage of sending files via email to manufacturers and factories rather than posting master models or moulds as well to their list, and letting them prototype the pieces on their end.
Of course, this does make the bold assumption that said jeweller can actually use jewellery CAD to produce their models.
Recently Gem Prive agreed to host a design competition for one of my CAD courses at Holts Academy. They were given four weeks to research and design a gold bracelet for a client based upon some existing coloured stones from the client’s own vault.
See the full story (and all the student’s finished designs) here:
Gem Prive and Holts Academy Design Contest – Gold Bracelet design by David Baer
And now for the second of my two jewellery CAD video tutorials focusing on how to use Matrix CAD techniques in Rhino. This one covers the Gem Cutter, Gem on Surface, and Prong tools.
As with the previous tutorial, those who might be concerned about whether this would make Matrix unnecessary shouldn’t be– when you watch the video it quickly becomes clear that these techniques won’t approach the efficiency of Matrix. However, it’s nice to know that if you’ve taken a Matrix class you won’t be stuck if you have to downgrade to Rhino.
You asked for it, so here it is:
I present the first of my two jewellery CAD video tutorials focusing on how to use Matrix CAD techniques in Rhino. This one covers the Ring Rail, Profile Placer, Gem Loader, and Bezel Builder.
To those who are concerned about whether this would make Matrix unnecessary– when you watch the video it quickly becomes clear that these techniques won’t approach the efficiency of Matrix. However, it’s nice to know that if you’ve taken a Matrix class you won’t be stuck if you have to downgrade to Rhino.
I recently stumbled upon a community dedicated to the use of generative algorithms in 3D modelling for jewellery. In English, that is to say they experiment with the Grasshopper plug-in and Rhino to make entirely new tools which create and control exotic geometry on a design’s surface, allowing for much greater speed with working on complicated and repeating forms.
See for yourself: (video after the break)
I recently was pointed to this video. While it’s as much a T-Splines sales seminar as anything, it walks through some good workflow examples of how to approach organic modelling in T-Splines for jewellery design scales, not to mention showing off some lovely designs.
If you’d like to know more about the video’s speaker Saskia Dattner, she a fine jeweller who produces some impressive work out of Pforzheim Germany using Rhino, KeyShot, and HDR Light Studio.