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Links 1 through 10 of 96 by René Walter tagged 3D

a Norwegian teacher and game developer has teamed up with a museum to make accurate reproductions of Viking artifacts.

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When his wife was misdiagnosed, Michael Balzer used 3D printing and imaging to get her well

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Chinese Artist, Hongtao Zhou creates 3D documents to reemphasis printing in modern technological world.

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Peng has spent the last four months on an ongoing project to 3D print a giant twisted and distorted modern rendition of the Biblical Ark of Noah.

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3D-Scan of a Sunflower, Digital Strategies of Distortion and Form Reduction.

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Curator David Rooney gives a guided tour of this 3D point-cloud model of the Shipping Galleries. Originally opened in 1963, the Shipping Galleries were home to the Museum's maritime collection until 2012, when the galleries closed. Before the 1800 objects on display were moved into storage, a 3D point cloud model of the space was created.

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In this tutorial, I go over a few different techniques in Cinema 4D to get that low-poly style that has been popping up around the web lately.

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3D printing provides an opportunity to change the way we think about the world around us. [1] It merges the physical and the digital. People on opposite sides of the globe can collaborate on designing an object and print out identical prototypes every step of the way. Instead of purchasing one of a million identical objects built in a faraway factory, users can customize pre-designed objects and print them out at home. Just as computers have allowed us to become makers of movies, writers of articles, and creators of music, 3D printers allow everyone to become creators of things.

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2012 may be the year of 3D printing, when this three-decade-old technology finally becomes accessible and even commonplace. Lisa Harouni gives a useful introduction to this fascinating way of making things -- including intricate objects once impossible to create.

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Peering through my clunky View-Master, I was transported into the Eames Case Study #8 House in Pacific Palisades, exactly as it was arranged when Charles and Ray Eames photographed it themselves. In my hands, I was holding 7 full-color Kodachrome images laminated onto a single circular reel. These were part of a set of photos intended for the Museum of Modern Art’s Built in USA: Post-War Architecture exhibition in 1952. Unlike any of the images I had seen before reproduced as slides or in a book, these stereo images — void of any editing or retouching — made me feel like I was actually there.

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