3D Printing for COVID-19: ID Badge/Door Opener from 3D LifePrints UK

A number of small companies are attempting to support the supply shortages being faced by hospitals in the face of the COVID-19 outbreak and provide new devices that can reduce the potential risk of contamination for medical professionals. Meanwhile, some large manufacturers that might be deployed for a massive World War Two-style production effort are not stepping up or being government mandated to provide production capacity. In fact, they are even laying off staff in the midst of a health crisis that has also become an economic crisis. (See our comments about GE worker protests in a previous article for an example.)

One such small firm lending a hand to the supply shortages is 3D LifePrints UK, an additive medical device manufacture specialist that makes such items as implants for craniofacial surgery, surgical guides and pre-surgical models for National Health Service trusts, medical device companies, research institutions and others in the U.K., Europe and around the world. 

3D LifePrints has been asked by a number of medical institutions to investigate and provide prototype designs for personal protection equipment (PPE) such as Facial mask connectors, mounts for ICU devices that are being moved into other venues, and a simple 3D printable device called the “Distancer.” This last item makes it possible for healthcare professionals to open a door or swipe an ID card without the need to touch potentially contaminated surfaces. 

“A doctor goes through a door up to 150 times a day in a hospital. The phrase we hear all the time is ‘the doors are like lava.’ The surface retention of COVID-19 is quite high on stainless steel and plastic,” founder and CTO Paul Fotheringham said.

Fotheringham explained that, in addition to the regular protocol for which hospital employees use their IDs, presenting proper identification in healthcare facilities is necessary to prevent the theft of supplies by hospital staff. 

To ensure the maintenance of proper protocol and prevent the spread of the virus, 3D LifePrints UK and the Alder Hey NHS Foundation Trust designed a 3D printed device that can hang off a keychain or lanyard and allow for the slide insert of a user’s electronic ID card. The Distancer features a handle so that the user does not have to touch the actual card, a hook that allows users to open a door, and a flat end for pushing doors closed. 

The company is 3D printing the items from materials that will not deteriorate during the cleaning process, which is essential for items that have exposure to COVID-19: nylon PA 12, ABS or anti-microbial PLA that includes an embedded nano-copper additive. It is available in two designs, either flat-packed with living hinges and one-click assembly, which could be mass produced with injection molding, or a 3D printed version.  

The 3D printed Distancer from 3D LifePrints UK. The file is available for download on the company website. Image courtesy of 3D LifePrints UK.

3D LifePrints is in the process of producing and delivering 4,000 Distancers to NHS hospitals at the moment, while it designs and evaluates other items. The firm is also working with the NHS to develop a specialty connector that can join an off-the-shelf scuba mask to an anesthesia filter that results in a respirator-style device for clinicians (not patients). This is in contrast to the CPAP-type device being developed in Italy using masks from Decathlon. The device is currently being evaluated with the NHS, but it is promising due to the fact that the scuba mask is form fitting and sealed against the face with rubber in a way that is required for the safety of clinicians.  

Fotheringham stressed that 3D LifePrints didn’t simply begin making supplies for the U.K.’s medical facilities out of the blue, but is acting on specific requests from the NHS and British hospitals and is working with medical partners to ensure the safety of the devices, while it is his firm’s job to design, iterate and produce the parts to the needs and specifications of the medical professionals. 

Typically, these devices would require significant clinical testing and approval from the proper regulatory bodies, but due to the emergency nature of the current public health crisis, devices that have not yet received certification are being fast-tracked for approval. 

Other considerations being taken into account are the specific production technologies and materials used to produce parts. More common and less expensive material extrusion printers, for instance, are known to make items that are more porous and have rougher surface finish than those made with selective laser sintering and other polymer powder bed fusion technologies. This reduces the chance for bacteria developing in hidden crevices and makes the parts easier to clean. 

As for materials, the company is focusing on the ability of plastics to withstand the use of chemical disinfectants to minimize the degradation of the part over time. In this case, PLA (the most common polymer used in desktop machines and made from corn starch), is not ideal. However, polypropylene, from which 3D LifePrints intends to injection mold its Distancer, is more durable and can sustain repeated cleanings. 

Fotheringham urged 3D printing enthusiasts and experts to use caution and proper time management when volunteering to combat the COVID-19 supply crisis. He suggested that these devices should be made in conjunction with medical professionals to ensure proper protocol is followed. One way would be to use official channels such as the FDA in the U.S., who we have reached out to in order to learn more about the safety of 3D printed medical devices made in response to the public health crisis. We will cover this topic in greater depth in a follow-up article.

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Olaf Diegel’s Latest 3D Printed Guitar, the Xenomorph

“Here’s lookin’ at you, kid.” “Hasta la vista, baby.” “Life is like a box of chocolates.” “Game over, man, game over!” These are all memorable lines from iconic films, though some people may not recognize the last one. This is a line from one of my absolute favorite movies, the 1986 Aliens, and was uttered by Private Hudson, played by Bill Paxton, after (most of) the group narrowly escapes with their lives from a close encounter with the film’s titular creatures.

(Image: IMDB)

Needless to say, I was pretty excited about multi-talented Swedish design engineer Olaf Diegel’s latest 3D printed guitar: the Xenomorph, which is what “the Company” dubbed the fully-grown alien life form in the movie.

“Yes, this was a fun little project that really got the creative juices flowing,” Diegel told me in an email.

Formerly a professor at Lund University in Sweden, Diegel is now in charge of the Creative Design and Additive Manufacturing Lab at the University of Auckland in New Zealand, as well as a professor of additive manufacturing and product development. He is also a DfAM expert and loves completing creative 3D printed projects, like a tiny desktop distillery, a Skeletor microphone, a saxophone, and of course, guitars.

Olaf Diegel (Image: ODD Guitars)

Diegel also founded ODD Guitars, which focuses on making, according to the website, “personalisable, customisable guitars that explore the limits of 3D printing technologies and applications.” ODD uses Selective Laser Sintering (SLS) technology to make its guitars, and finishes the instruments with top quality off-the-shelf hardware.

ODD makes all kinds of guitars – there’s a Steampunk one, the Spider, American Grafitti, Beatlemania, and now the Xenomorph. I told Diegel how much I love the Alien franchise, and asked if he could tell me a little more about the making of his Alien-themed guitar.

“It started way back, about 3 years ago, when Fredrik Thordendal, from Swedish extreme metal band Meshuggah, suggested the idea of designing a biomechanical inspired guitar. And I also had a friend in the robotics field who had a lot of biomechanical tattoos, so those got me started on the guitar,” Diegel told me. “But other projects got in the way and I forgot about it until around 3 months ago, and picked the project up again, but that’s when it got morphed somewhere between a biomechanical and an Alien themed guitar which, indeed, were awesome movies…”

Diegel used mostly SOLIDWORKS, with “a bit of help from Meshmixer,” to sculpt some of the guitar’s more organic parts. He got some of the “rough details and proportions” for these parts from different Thingiverse models.

In response to a question from one of his LinkedIn followers, he said, “I did a very rough crude shape of the head and teeth, mainly trying to get the head carapace right in Solidworks and exported that as an STL, and then had to modify and massage the STL a whole heap in Meshmixer to make it look like the Alien.”

Then, he put it all together in Materialise Magics so he could merge all of the individual STL files into a single file. The body of the Xenomorph guitar was 3D printed in white nylon by i.materialise in Belgium, and its neck is a high-quality Warmoth maple neck, with a rosewood Fretboard, and a machined maple inner core that joins it to the bridge. The hardware includes Seymour Duncan hot-rodded humbuckers, a Schaller bridge and guitar strap locks, and Gotoh tuners, all in black for a good Alien vibe.

Diegel received the guitar back from Belgium right before Christmas, so he took advantage of the holidays to begin priming, sanding, and painting it.

“When I got to the colour, I started it off with ‘Hammerite’ paint, to give it almost the ‘worn’ grey metallic look of the spaceships in the Alien movies. But I then thought it needed a bit more colour to highlight the Alien bits, so took it to Ron Van Dam, the NZ airbrush artist who does the ‘fancy’ paint jobs on most of my guitars. He did an awesome job at giving it just the touch of colour it needed, as well as the glistening clearcoat that mimics the sliminess of the Alien Xenomorph,” Diegel told me.

He’s tried it out, and the 3D printed Xenomorph guitar “plays and sounds awesome.”

“This is guitar number 80, and I have one of each design in my collection, so have sold somewhere around 66 of them, so this is also makes a nice example of using 3D printing for low-volume high-value production,” Diegel said.

Other LinkedIn comments on his original post provide Diegel with some ideas for his next guitar. Harry Potter was one option, but I agree with the second one – a 3D printed Predator guitar, so the two can battle it out.

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[Images: Olaf Diegel, ODD Guitars, unless otherwise noted]

The post Olaf Diegel’s Latest 3D Printed Guitar, the Xenomorph appeared first on 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing.

TextileLab and Fabricademy: Interview with Anastasia Pistofidou on Sustainably 3D Printing Fashion.

Fashion and sustainability are two words that feel as antonyms nowadays. The mass production of clothing and ethically doubtful methods of manufacture give one of the biggest economic forces one of the top rankings of the most polluting sectors. This creates a negative social influence and climatic impact that makes obvious the need for a change to make fashion great again. This issue is not new and many people are working towards a better future. And although the changes come slowly, the mentality and so with it the industry is moving towards a healthier direction.

Picture of a 3D printer printing a sample

3D printing on textiles, one of the innovative methods in fashion industry. 3D printer at Fabricademy. Credit: Anastasia Pistofidou

One of those people who believe in the need for a change in fashion is Anastasia Pistofidou. She is a Greek architect specialized in digital fabrication technologies. Based in Barcelona, currently works as director of the FabTextile research lab and Fabricademy, a new textile and technology academy. The FabTextile project offers an “Open sourcing fashion production for a global innovation ecosystem.”. It is a research platform that seeks a new approach in the fashion industry through the use of technologies as 3D printing or CNC milling.

Taken for FabTextile website:

In Fab Textiles we are developing and implementing a new approach on to how create, produce and distribute fashion elements, by using distributed manufacturing infrastructures and knowledge networks. Fab Textiles offers a cross-disciplinary education and research platform, where production and culture through advanced technologies are making impact in the way we think and act towards the fashion industry.

top view of 3D printed top

3D printed top. Credit: Anastasia Pistofidou

As we have mentioned in other posts, the use of 3D printing in the textile sector is opening a new scope that is oriented towards improving the present landscape of fashion. Although we are still making baby steps before we graduate to major achievements, there are some interesting ways that 3D printing can add to fashion. Some of the positive things 3D printing could bring this field is the possibility of creating tailored garments that waste less material. The capacity to produce locally and improve distribution systems, saving transportation costs and pollution are other benefits. Also, the idea of open source fashion is quite interesting and could shift the way we design clothes, enhancing the customization of pieces to fit personal needs while making fashion more of a collective endeavor.

We asked Anastasia some questions in order to learn more.

Which 3D printers do you use?

We use various 3D printers using FDM technology, mainly BCN and Prusa.

What materials can you print?

We can print in TPU, PLA, Filaflex, nylon.

How would I work with you if I was a fashion designer?

You can make your sketches and patterns in paper and we can 3D model and 3D print them.

Why is what you do important?

Because it is a completely new production process and it used 3D models that are digital and not physical patterns on paper. you can also design directly in 3D, not necessarily in a flat pattern. You can send your 3D file anywhere to be printed, without having to ship garments

What is the added value?

Distributed production, collaborative production, self making, self sustenance.

What are you adding to the 3d printing & fashion world?

Techniques, tutorials, educational material, methodologies, products as showcase, artistic pieces.

Can you actually wear the garments?

Yes, you can.

Can you clean it in a washing machine?

Washing machines may change as well, imagine cleaning your garments as you are cleaning a table, it will be different cleaning method.

Picture of the back of a 3D printed top

3D printed top. Credit: Anastasia Pistofidou

Oak Ridge National Laboratory Investigates New Lignin-Nylon Composite 3D Printing Material

Lignin is an organic polymer that is present in the cell walls of many plants, giving them rigidity such as in wood and bark. It’s also a byproduct of biorefinery processes, and, thanks to work by researchers at Oak Ridge National Laboratory (ORNL), it could make up a new kind of 3D printing material. The research is documented in a paper entitled “A path for lignin valorization via additive manufacturing of high-performance sustainable composites with enhanced 3D printability.

“Finding new uses for lignin can improve the economics of the entire biorefining process,” said ORNL project lead Amit Naskar.

The researchers combined a melt-stable hardwood lignin with conventional plastic – a low-melting nylon – and carbon fiber to create a composite with excellent mechanical properties and strength between layers, as well as extrudability. One of the issues of lignin is that it chars easily and can only be heated to a certain temperature before it becomes too viscous to be extruded. When the researchers combined it with nylon, however, they found that its room temperature stiffness increased while its melt viscosity decreased. The composite had tensile strength similar to nylon alone and lower viscosity than ABS or polystyrene.

The researchers conducted neutron scattering at the High Flux Isotope Reactor and used advanced microscopy at the Center for Nanophase Materials Science to investigate the composite’s nuclear structure. They discovered that the combination of lignin and nylon “appeared to have almost a lubrication or plasticizing effect on the composite,” according to Naskar.

“Structural characteristics of lignin are critical to enhance 3D printability of the materials,” said ORNL’s Ngoc Nguyen.

The researchers were also able to mix a higher percentage of lignin – 40 to 50 percent by weight – and then add 4 to 16 percent carbon fiber. The result was a new composite that heats up more easily, flows faster, and results in a stronger 3D printed product.

“ORNL’s world-class capabilities in materials characterization and synthesis are essential to the challenge of transforming byproducts like lignin into coproducts, generating potential new revenue streams for industry and creating novel renewable composites for advanced manufacturing,” said Moe Khaleel, Associate Laboratory Director for Energy and Environmental Sciences.

The lignin-nylon composite is patent-pending, and the researchers will continue to work with it to refine it and find other ways to process it. ORNL has been working with lignin for several years, and has done a lot of work with other novel 3D printing materials as well. As the researchers point out, petroleum-based thermoplastics still dominate the 3D printing materials market; the market for wood- and plant-based 3D printing materials is still limited because of their inherent difficulties in melt processing.

“Our study opens a new avenue of using isolated lignin as a feedstock for formulating 3D-printing materials having superior mechanical and printing characteristics,” they conclude. “Our findings have the potential to create additional revenue streams for biomass processing industries via the added value of lignin. In addition, it may accelerate installation of pilot biomass fractionation units in rural areas before feeding the whole biomass to a biorefinery and boost local polymer compounding industries that manufacture or compound materials for 3D printing and injection molding.”

Authors of the paper include Ngoc A. Nguyen, Sietske H. Barnes, Christopher C. Bowland, Kelly M. Meek, Kenneth C. Littrell, Jong K. Keum and Amit K. Naskar.

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[Source/Images: ORNL]