Fast Large-Format 3D Printer Produces Displays, Props, Objects up to 6 ft. Tall

Massivit 1800 3D printer

A super-fast, large format 3D printer is set to transform the creation of high-level marketing, advertising, and themed-environment projects. The Massivit 1800 large format 3D printer can produce high-quality 3D pieces up to 6 ft. high at build speed of up to 1 ft. per hour.  It is being promoted to large-format graphics providers that specialize in creating eye-catching signs and displays.

Adding ‘the next dimension’ to visual communications, the Massivit 1800 is expected to change how creative directors, product designers, and marketers think about what’s possible with 3D models, displays, and brand promotion.

The Massivit 1800

The Massivit 1800 system is the fastest large format 3D printer on the market. It was developed by people who have dedicated their careers to delivering large-format digital printing equipment. As a group, the founders and managers have well over 100 years of experience in large-format digital printing and over 50 years of experience in 3D printing. They come from a variety of disciplines (management, engineering, printing, chemistry, and software) and have a substantial track record in R&D for companies such as Objet, HP Scitex, Idanit, and Scitex Vision.

At the heart of the Massivit 1800 system is a proprietary Gel Dispensing Printing (GDP) technology that enables instant solidification and high-speed printing. The gel is sensitive to UV light and solidifies into a hard polymer when it exposed to the LED UV light unit onboard the printer. The material is non-flammable and has a structural strength similar to the ABS materials commonly used in 3D printing.

Many objects designed for temporary promotional and decorative displays, movie sets, and themed environments don’t need to totally solid. Thus, they can be printed as only a “shell.” The Massivit 1800 printer saves production time and materials by printing non-vertical walls and ceilings without a solid or elaborate support structure.

Massivit-Tomato

“For print providers, the Massivit 1800 dramatically enhances the ability to create eye-catching visual communications that better engage target audiences,” said Avner Israeli, CEO, Massivit 3D.  Recent studies suggest that 3D advertising has five times the stopping power and four times the staying power of 2D advertising.

“Our products will enable marketing/brand managers to maximize the impact of their campaigns with a never-before-seen ‘wow factor.'” said Israeli.

Carisma Operates First Massivit 1800 in U.S.

The first Massivit 1800 in the United States is currently in operation at Carisma, a large-format printing company based in Brooklyn, New York.

Carisma-EasterIsland1

Carisma helps companies execute one-of-a-kind advertising campaigns, many of which are on double-decker buses across America. Carisma plans to put the Massivit 1800 to work for some of these campaigns.

“As always, I was looking for the next big thing — a technology edge — that can help me bring something different to my customers,” said Moshe Gil, Carisma owner and CEO. To help customers create memorable and noticeable advertising, “We were the first to put LED screens on buses for advertising, and we are one of the first who printed lenticular lenses and placed them on buses. Now will be the first to have 3D-printed elements on buses.”

“We are happy to see how a print-service provider such as Carisma is putting the Massivit 1800 to work in the advertising world,” said Israeli. “As their name suggests, the team at Crarisma has a lot of charisma, and is driving the industry to great heights. 3-dimensional advertisments on buses are going to be a big hit.”

This retail display for a watch was created on a Massivit 1800 in Israel by ES Digital.
This retail display for a watch was created on a Massivit 1800 by ES Digital in Israel (www.esdigital.co.il/en).

 

 

Photoshop World Brings Creative People Together July 19-21 in Las Vegas

PhotoshopWorld_Branding_300x250Each year creative people from all walks of life come together for three days in Las Vegas. Their mission is to leave the world behind and totally immerse themselves in a Photoshop, design, and photography love fest called Photoshop World. This year’s event runs July 19-21, 2016 at the Mandalay Bay Convention Center.

The Photoshop World Conference brings together photographers, graphic designers, retouchers, illustrators, web creators, social media managers, bloggers, hobbyists, video editors, art directors, and many other people who use Adobe tools to create, excite, inspire, and communicate.

The conference is sponsored by Adobe Systems and produced by the KelbyOne online education community.

More than 80 Educational Sessions

The conference includes more than 80 sessions presented by an extraordinary roster of talented instructors.

Courses cover topics related to Photoshop, Lightroom, Creative Cloud, lighting, inspiration, photography, video, and mobile apps. For example, instructors will explain how to:

  • Use Creative Cloud mobile apps
  • Produce gallery-worthy black-and-white images
  • Develop new revenues from stock photo creation
  • Build workflows that bring together mobile phone and DSLR images
  • Create panoramic, high dynamic range, and time-lapse photographs
  • Create snapshot videos for weddings and other events
  • Bring your landscape photography to life
  • Get started in aerial photography

Because creative people learn best when they’re having fun, the conference also includes loads of networking events, parties, after-hour sessions, meet-ups, and get-togethers. The conference kicks off with a high-energy opening keynote by people at Adobe who have made Photoshop World

“Photoshop World isn’t just another conference. There’s a very special vibe to it, an energy that recharges and renews your creative spirit,” said conference technical chair Scott Kelby. “People come here year after year to lose themselves in all this cool stuff and Photoshop is at the heart of it. No matter what you do, whether it’s video, photography, design, or blogging, this tool has changed our world.”

He says the goal has always been for participants to come away learning more in these three days than they have in the last three years and it’s what’s powers the conference from start to finish. It’s the ‘secret sauce’ that has made Photoshop World a must-attend event for the creative community for 19 years straight.

 

Creative Group Survey Reveals Hiring Trends through End of 2016

The Creative Group

In a recent hiring trends survey by The Creative Group staffing firm, 13 percent of advertising and marketing executives said they plan to expand their teams in the second half of 2016. This is up from 11 percent in the first half of the year.

The majority (59 percent) of respondents said they expect to maintain staffing levels and hire primarily to fill  vacated positions in the next six months.

In addition, 20 percent of the advertising executives and 10 percent of the marketing executives anticipate increasing the number of freelance staff during the remainder of the year.

“Many companies are adding to their bench of marketing talent, particularly within the digital space,” said Diane Domeyer, executive director of The Creative Group. “Employers seek professionals who can help build their businesses’ online presence, support year-end campaigns, and strategize for the future.”

Creative Specialties in Demand

When executives were asked in which areas they plan to add staff in the second half of 2016, they reported a variety of specialties. Topping the list (at 18 percent each) were content marketing, brand/product management, digital marketing, and web design/production.

When advertising and marketing executives were asked, “In which of the following areas do you expect to hire in the second half of 2016?” Their responses were:

  • Content marketing: 18%
  • Brand/product management: 18%
  • Digital marketing: 18%
  • Web design/production: 18%
  • Marketing research: 17%
  • Creative/art direction: 17%
  • Print design/production: 17%
  • Customer experience: 17%
  • Social media: 16%
  • Media services: 15%
  • Public relations: 14%
  • Copywriting: 14%
  • Account services: 13%
  • Interactive media: 10%
  • Mobile design/development: 10%

(Multiple responses were permitted; Top responses shown.)

Recruiting Challenges

Forty-one percent of advertising and marketing executives said it is difficult to find skilled creative professionals today. Hiring managers at small advertising agencies (20-49 employees) and large advertising agencies (100+ employees) expect the greatest difficulty, with 50 percent of respondents in each group reporting that it is somewhat or very challenging to find the talent they seek.

When asked which types of roles were most difficult to fill, the top responses were web design/production, customer experience, and brand/product management.

About the Research

The national study was developed by The Creative Group and conducted by an independent research firm. It is based on 400 telephone interviews — with 200 marketing executives randomly selected from companies with 100 or more employees and 100 advertising executives randomly selected from agencies with 20 or more employees.

About The Creative Group

The Creative Group (TCG) specializes in connecting interactive, design, marketing, advertising, and public relations talent with the best companies on a project, contract-to-hire, and full-time basis.

TCG Infographic

 

Artists, Investors, and Innovators Launch Upstart Co-Lab

A group of artists, investors, philanthropic funders, and social innovators have launched Upstart Co-Lab. The collaborative arts organization is designed to:

Increase opportunities for artists as innovators by encouraging greater recognition of artists’ accomplishments in the private, social and public sectors;

Catalyze more capital for creativity by making creativity investable through public equity, debt and venture capital investment products;

Enable sustainable creative lives by equipping artists with crucial skills for executing their ideas, and linking eligible artists to existing social services and subsidies.

Upstart is funded by Ford Foundation, The Rockefeller Foundation, The Andrew W. Mellon Foundation, and Surdna Foundation with in-kind support from the F.B. Heron Foundation. Upstart is a sponsored project of Rockefeller Philanthropy Advisors.

“Artists are the original social entrepreneurs. They make our society stronger because of who they are, how they approach the world, and the risks they are willing to take,” said founding partner Laura Callanan, the former senior deputy chairman of the National Endowment for the Arts. “But because other social changemakers don’t realize what artists are doing, artist-innovators often have to go it alone. By creating this national collaboration between artists, impact investors, sustainable companies and other partners, we can fix this.”

UpstartCo-Lab-Logo

Upstart Co-Lab will be based in New York but is national in scope. Upstart Co-Lab has conducted hundreds of conversations with arts and innovation leaders to inform a portfolio of projects and develop the partnerships that will advance them.

Upstart will work in three ways:

Adapting successful models for the arts and creativity. By repurposing models from impact investing, community development and social entrepreneurship, Upstart will  catalyze  fresh  opportunities  for artists. By emulating the Social Capitalist Awards that popularized the concept of the social entrepreneur, Upstart will recognize artists and designers who have launched innovative companies such as Kickstarter, AirBnB and Jeni’s Splendid Ice Creams. Upstart will also recognize artists working on issues such as environmental conservation, criminal justice system reform, and effective government.

Integrating the arts into existing systems and standards. Today there are no options for the mission-related investor committed to the arts and creativity. Upstart will launch a Creative Economy Index Fund of U.S. public companies across the creative industries, enabling targeted investment in creativity for the first time. This product will integrate values of sustainability by focusing on companies that lower the cost for the design, fabrication and distribution of creative work, or that enable individuals to be creators, not just consumers.

Developing new initiatives designed to respond to gaps and market failures. Artists face some unique challenges. For example, to address the persistently low rate at which arts graduates actually make their living by working in the arts, ArtPath will rethink the resources and skills artists need at every stage of their career life cycles – to launch new projects, start commercial enterprises, and better manage their careers.

“The creative economy is all around us, but the problem is we don’t recognize it,” said Veris Wealth Partners Partner Anders Faijersson Ferguson. “Because we don’t understand how big a difference artists and innovators make in our local and global economy, their role is somewhat invisible. By helping their contributions be better understood and valued, more investment capital will be made available. And the catalytic role artists play in achieving impact and bringing positive economic change will increase.”

Strategic Partners

To implement these initiatives, Upstart Co-Lab is engaging with arts organizations, social innovators, impact investors, universities and others. To date, Upstart’s strategic partners include Arizona State University, Artspace, B Lab, Bennington College, Calvert Foundation, Foundation Center, Global Development Incubator, Maryland Institute College of Arts, McKinsey & Company, Oberlin College, Veris Wealth Partners, and Yerba Buena Center for the Arts.

A portfolio of five projects is under development and will be implemented by the end of 2016. More information about the organization can be found at http://www.upstartco-lab.org.

 

Photographer Creates Single-Image Art Photography Wallcoverings

In late 2014, celebrity photographer and designer Don Flood launched his first collection of FLIEPAPER art photography wallcoverings produced by Astek Wallcoverings. He followed that with the Palm Springs collection earlier this year.

Graphic and sophisticated, each FLIEPAPER art photography wallcovering is symphony of color, texture, and design with an emphasis on scale. Designs range from immense florals and bold textures to quirky, unexpected found objects. FLIEPAPER designs are digitally printed using an eco-friendly process and can be customized in color and design.

FLIEPAPER by Don Flood (www.fliepaper.com)
FLIEPAPER by Don Flood (www.fliepaper.com)

Flood’s FLIEPAPER designs have appeared in environments as varied as a high-end café in Santa Monica to a private elevator in a Redondo Beach luxury home.

Quartz art wallcovering
FLIEPAPER by Don Flood (www.fliepaper.com)

At the International Contemporary Furniture Fair (ICFF) in May, Flood introduced his newest line of art photography wallcoverings called BIGS. Images in the BIGS collection include amethysts, minerals, crystals, sea coral, abalone, roses, sunflowers and butterflies.

FLIEPAPER art wallcovering
Crystal is part of the new BIGS collection of FLIEPAPER (www.fliepaper.com)

Inspired by the single-image wallcoverings of 1960s and 1970s interiors, Flood devised a proprietary process for shooting each subject in ultra-high-resolution and at very close range. He then had the images printed on a variety of new digitally printable wallcovering materials, including mylar. The results lend themselves to nearly any interior application from residential living rooms, dining rooms and bedrooms to commercial environments such as restaurants, office lobbies, and hotel public areas.

art wallcovering
This close-up photo of coral is part of the BIGS collection of FLIEPAPER. (www.fliepaper.com)

“We are very excited by what Don has created in BIGS,” said Aaron Kirsch, founder and CEO of Astek. “FLIEPAPER has proven popular with retail customers, interior designers, art directors and architects. It combines highly artistic, high-resolution images of beautiful things combined with the practical applications allowed by the material itself. We love partnering with Don, and we think BIGS will prove highly successful with both the residential and commercial marketplace.”

“When single image installations were in vogue some decades ago, the subject matter was usually a sunset or treescape, and the resolution was incredibly low,” notes Flood. “Inspired by an interiors shot I came across from the late ‘60s, I began to experiment with various images at extremely high resolution. Given the printing technology and materials available to us today, BIGS became a reality very quickly. I am excited to show how beautifully a high-resolution, single-image wallcovering transforms a space.”

art wallcovering of butterfly wing
This extreme close-up of a butterfly wing can be produced as an art wallcovering through FLIEPAPER (www.fliepaper.com)

3D Color Printing Is Simplified with Stratasys Creative Colors Software

DESIGNERS. Stratasys Ltd. is taking color 3D printing to a new level of realism and accessibility with the release of Stratasys Creative Colors Software, powered by the Adobe 3D Color Print Engine.

Available for use with Stratasys’ Objet Connex3 3D Printing solutions, the Creative Colors Software combines advanced color management with a direct design-to-3D print workflow. Stratasys and Adobe are both working to make 3D printing easier to use while increasing creativity.

Stratasys Creative Colors Software

Because Objet Connex 3 printers can combine a range of materials in every print job, designers can use the printers to make realistic prototypes that don’t require extra assembly and post-processing.

By forming a direct bridge between Adobe Photoshop CC and Objet Connex3, Creative Colors Software enables designers to 3D print their most imaginative creations without cumbersome 3D printing workflows.

1_Typical_3D_Printing_Workflow

2_Streamlined_Design_to_3D_Print_WorkflowStratasys Creative Colors empowers designers to use enhanced color tools such as vibrant gradient color palettes with expanded color spectrums, improved textures and patterns support, and time-saving color previews.

By incorporating multiple gradient colors, patterns, and textures, a model produced on the Objet Connex3 can have the same look and feel as the final intended product, vastly reducing product development times while increasing product quality.

3D color printing speaker model
Speaker model designed with Stratsys Creative Color Software

One company that has tried the Stratasys Creative Colors software is Saflio, a world leader in high-end and luxury eyewear.

“Safilo has recently improved its prototype development process thanks to the adoption of Stratasys Creative Colors Software,” said Vladimiro Baldin, Chief Product Design and Creation Officer at Safilo. “The ability to print prototypes with the same color and texture as the finished product, has significantly increased our speed in developing new eyeglass frames. Now, we can push the creative boundaries even further, quickly responding to market trends and reducing our prototyping cycle from three days to just three hours.”

Making Design for 3D Printing More Accessible

“Partnering with Adobe, a world leader in creative software products, aligns with Stratasys’ vision to make the color 3D printing experience as simple, powerful and rewarding as possible,” said Dan Yalon, EVP Business Development, Strategy and Vertical Solutions, Stratasys.

Stratasys has also introduced a new direct color workflow from Photoshop CC to the Stratasys Direct Manufacturing parts-on-demand service. Photoshop CC users can send colorful 3D files directly to Stratasys Direct Manufacturing for Objet Connex3 3D printing.

Features such as direct quoting, validation and previewing can help ensure that the printed design won’t exceed your budget.

“Adobe Photoshop CC users can now directly access Stratasys Objet Connex3 3D printers – whether locally or through Stratasys Direct Manufacturing – and easily produce their designs with gorgeous gradient color and fine details,” said Adil Munshi, VP and GM, Print and Publishing Business Unit, Adobe. “The combination of Adobe’s unmatched color expertise with Stratasys’ multi-color, multi-material 3D printing is a true game-changer for the creative design industry,”

Stratasys Creative Colors is now bundled with all new Objet Connex3 3D Printers and can also be purchased for existing Objet Connex3 systems.

 

Improving Collaboration with In-House Creative Teams

Each year, The Creative Group staffing agency teams up with AIGA, the professional association for design, to find out what trends will impact creative teams in the coming years. This year, they surveyed more than 800 in-house design professionals and creative veterans from leading organizations to uncover some of the challenges that affect in-house creative teams. One area of questioning focused on the challenges of collaborating with colleagues from other departments.

Issues Affecting Collaboration

When in-house creative professionals were asked to share the biggest challenge when collaborating with colleagues in other departments, here are some their responses: “Lack of understanding of what we do and our processes.”

“Getting others to think of us as strategic partners versus pixel pushers who merely make things look good.”

“Communicating with teams composed of technical and nontechnical people.”

“Identifying the right decision makers for projects.”

“Delays in feedback and approvals.”

“Finding time to discuss plans and come up with meaningful solutions at the outset of an initiative.”

“Managing deadline and budget expectations.”

Fostering a Collaborative Corporate Culture

“Most work today requires cross-departmental collaboration, and creative teams need to take an active role in working through challenges like bridging communication gaps and juggling competing priorities,” said Diane Domeyer, executive director of The Creative Group. “Managers should set the stage for successful group interactions, but employees at all levels can take steps to break down organizational silos.”

While many barriers to effective teamwork exist, companies are making strides in developing more collaborative cultures.

  • Twenty-eight percent of in-house creative professionals surveyed said they are tapped for input at the initial stages of a project all the time.
  • In the next two years, 31 percent of respondents expect they will always be involved in kickoffs and interact more frequently with cross-departmental peers.
  • During the next 12 months, 48 percent of in-house professionals anticipate collaborating more frequently with public relations/corporate communications departments. Another 36 percent foresee closer partnering with information technology groups.

To help organizations foster greater teamwork, The Creative Group and AIGA have published a new report, “Collaboration in the Workplace: How to Overcome 7 Common Challenges.”

CollaborationintheWorkplace

The report, available at creativegroup.com/ctf, provides tips from creative leaders on building stronger and more efficient cross-departmental relationships.

About The Creative Group

The Creative Group (TCG) specializes in placing a range of highly skilled interactive, design, marketing, advertising and public relations professionals with a variety of firms on a project, contract-to-hire and full-time basis.

About AIGA

Founded in 1914, AIGA remains the oldest and largest professional membership organization for design. AIGA defines global standards and ethical practices, guides design education, inspires designers and the public, enhances professional development, and makes powerful tools and resources accessible to all.

TCG GRAPH Collaboration Infographic