Digital Sculpture Article Reviews

Article summaries

Ars Ex Machina – William V.Ganis

In today's era, many sculptors are making use of digital technologies to create virtual forms and then translate them into the physical world, which was not possible until recent times. This is thanks to rapid prototyping (RP), which “prints” 3-dimensional objects from the computer environment using a variety of materials such as polyester & resin. The digital realm offers sculptors a whole new range of possibilities that cannot be done by the human hand, such as art inspired by scientific and engineering environments, and it can also help to cut costs by reducing transportation fees, which is key to sharing information about these artworks. This form of art also allows it to be realized in RP machines anywhere in the world and for events to be held simultaneously globally. An example of such an exhibition is “Intersculpt” which was recently “realized by RP machines in 10 international venues as diverse as Auckland, Dakar, Hong Kong, Manchester, New Orleans, New York, and Paris.” Many universities have incorporated digital sculpting classes and RP into their curriculum, which indicates that not only is it recognized by faculty for its flexibility as a medium, but it is also in high demand by students eager to learn about the latest technologies. Currently the downside of the digital medium is that access to RP machines are limited and expensive. However some speculate that it will be more accessible in the future, and perhaps by that time more varieties of color and impressions of materials may be possible. The author feels that there is a long way to go before digital sculpture will “lose its industrial character and becomes identified with the fine arts.”

Discussion question: If it is easily spread over the internet, how do you protect your digital artwork from being reproduced and sold by others?


Digital Stone Project – William V.Ganis

In order to preserve the unique resources of digital stone cutting found at the Johnson Atelier (JA) Stone Division, the Digital Stone Project was set up as a non-profit collaboration together with several sculptors and the directors of JA Stone Division to pool money in order to purchase the equipment from the Atlantic Foundation. With these machines, works ranging from huge public installations to personal projects have been completed, such as the textured marble tile sets for the expressway in New York. Not only can these machines scan objects for replication, they save a lot of time in blocking out the main sculptural form in massive sizes, after which artisans can give the final touch-ups by hand-carving the details. The characteristics of a material can also be applied to other materials to give a different effect, such as applying the effect of marble onto plaster, or materials like cracked stone that would crumble under the traditional method of carving can be used. The machines are especially useful for rescaling a scanned object to a much-enlarged scale, and for making precision cuts of exact geometry. There are an increasing number of opportunities at institutions for artists to access such man-operated machines. Despite all these technological advances, it is important to keep in mind that the digital sculpt is merely a tool and the artist is still very much involved in the whole art process, from the concept to solving technical difficulties together with the technicians, and the digital method allows for many new possibilities that were otherwise unavailable before.

Discussion question: Is there a limit or boundary to how little the artist's hand is involved in the creation process before it is considered not a human idea/artwork?

Formotography – Harry Abramson

“Formotography” consists of three-dimensional data capture, digital modeling, and digital production. Three-dimensional data capture makes use of 3D laser scanners to translate the information of real objects in the physical world into the virtual realm; digital modeling is the creation or modification of virtual sculptures using Computer Aided Design (CAD), and digital production is the ability to create the virtual object using any material in any size using Rapid Prototyping (RP) or Computer Numeric Controlled (CNC) Machines. RP builds objects layer by layer and there are limitations to size, quality and material choices, but has the main advantage of creating highly detailed small objects. On the other hand, a block of material is carved by the machine in the CNC milling process. As the level of detail may not be as high, many artists use this method to create a larger scale of their works and add details by their own handiwork after the digital print process, thus saving much time and costs compared to if they were doing the whole process traditionally. Another advantage of the digital process is scanning objects for studies, documentation or making replicas of the original. This is especially useful for artists wanting to focus on the creativity area, marketing, as well as conservation. With the help of constantly improving technologies, artists are able to reach higher standards of technical accuracy, but what truly makes a work outstanding is the artist's vision and decisions made.

Discussion question: With the help of laser scanning devices, artists can scan humans and a sculpt of them can be created. How does it affect the value of work if another artist were to carve the same figure traditionally, and will it change how others view the artwork if they knew how it was done?