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The RAPID 2013 Conference & Exposition Directory - Society of ...

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ConferenCe Details<br />

supported and the end products must achieve or surpass state<strong>of</strong>-the-art.<br />

We will demonstrate the first commercially available<br />

tool with combined heterogeneous capability <strong>of</strong> plastics and<br />

metals for electronic applications and specifically RF electronics.<br />

1:30–1:55 pm<br />

Sky’s the Limit: Advanced Rapid Prototyping<br />

with Multi-material Capabilities<br />

Susan York, US Consumables Business Manager, Stratasys<br />

Innovative Applications<br />

1–3:25 pm<br />

Out <strong>of</strong> the box thinking leads to new ways <strong>of</strong> using additive<br />

manufacturing. This session is a place to hear from innovators<br />

who are testing and doing the unimaginable.<br />

1–1:25 pm<br />

3D Imaging and Forensic Reconstruction<br />

<strong>of</strong> the Human Face<br />

Shayne A. Kondor, Medical Modeling Engineer,<br />

Naval Postgraduate Dental School<br />

Joe Mullins, Forensic Artist,<br />

National Center for Missing and Exploited Children<br />

<strong>The</strong>re are over 100,000 missing persons in the United<br />

States and approximately 45,000 unidentified sets <strong>of</strong> human<br />

remains. A significant proportion <strong>of</strong> the unknown remains are<br />

skeletonized, making identification difficult. DNA and dental<br />

records are extremely useful identifiers, but the dissemination<br />

<strong>of</strong> facial reconstructions, and the subsequent recognition<br />

<strong>of</strong> the unidentified person by an investigative agency, family<br />

member or friend is still one <strong>of</strong> the most common ways that<br />

these individuals are identified. To put a face on these victims,<br />

forensic artists are able to reconstruct a probable face on a<br />

skull using a combination <strong>of</strong> anatomical science and artistic<br />

skill. <strong>The</strong> reconstruction process is classically performed by<br />

clay sculpted over the skull. This process is labor intensive and<br />

expensive. To expedite this process forensic artists now benefit<br />

from 3D scanning technologies, allowing accurate models <strong>of</strong><br />

the skull to be obtained for digital reconstruction <strong>of</strong> the face.<br />

Digital reconstruction <strong>of</strong> the face is performed in a s<strong>of</strong>tware<br />

application. Tangible 3D models <strong>of</strong> the reconstruction are<br />

printed using additive manufacturing technologies. Case studies<br />

will demonstrate different imaging options to obtain a skull<br />

model for the reconstruction process, the digital reconstruction<br />

process, and the additive manufacturing options used to obtain<br />

physical models.<br />

One <strong>of</strong> the major challenges in the prototyping stage <strong>of</strong> product<br />

development is to produce a fully-representative model <strong>of</strong> the<br />

intended end-product. In many industries, this is complicated<br />

by the fact that the final product is not <strong>of</strong> a single, homogenous<br />

material, but is rather an assembly <strong>of</strong> different materials and<br />

properties. Objet inkjet-based technology is the only 3D printing<br />

technology <strong>of</strong> its kind in the world able to selectively place<br />

different materials in a single 3D printed prototype and compose<br />

two materials to create varying composites, Digital Materials, to<br />

closely match very specific material properties. With over 100<br />

different materials and Digital Material combinations to choose<br />

from, including rigid to rubber-like, opaque to transparent and<br />

standard to engineering plastic performance, the sky is now<br />

the limit to creating accurate prototypes that match closer than<br />

ever before the aesthetic look, tangible feel and true function <strong>of</strong><br />

complex end-products.<br />

2–2:25 pm<br />

Making Stuff in the Connected Age<br />

Mickey McManus, President & CEO, MAYA Design<br />

In <strong>2013</strong>, there are more transistors in the world than grains <strong>of</strong><br />

rice. Each year we make billions <strong>of</strong> computing devices and put<br />

them into nearly every significant thing we manufacture. We<br />

have literally permeated our world with computation. Computers<br />

already vastly outnumber people, but in a few short years, their<br />

number will climb into the trillions. We are quickly learning how<br />

to make those processors communicate with each other, and<br />

with us. Instead <strong>of</strong> information being “in” computers; people,<br />

products, environments, and cultures will begin to live “in” the<br />

information. In this burgeoning ecology, strange new varieties<br />

<strong>of</strong> connected products, services, environments, and people<br />

will proliferate. Atoms and bits will connect in ways nobody<br />

can predict. 3D printing <strong>of</strong> electronic devices is already a<br />

reality. What will manufacturing look like when every sheet <strong>of</strong><br />

printed paper has the computing power <strong>of</strong> the newest iPad®?<br />

When connectivity spreads to ordinary objects and they are<br />

newly vulnerable to viruses or bad updates, complexity will<br />

be inevitable. But untamed, malignant complexity is not. This<br />

54 sme.org/rapid

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