Joshua Harker

Quixotic Divinity Headdress

Joshua Harker    Quixotic Divinity Headdress

source: joshharker

Exploring the limits of the medium, Joshua brings together art, technology & haute coutre high fashion to create the 3d printed “Quixotic Divinity” headdress. Inspired by traditional Native American, Latin, African, & Asian headdresses & masks, this piece celebrates the symbolism & ceremony of human adornment. Revealing the wearer’s identity, the face mask hangs in position as a floating bodice symbolizing the freedom of the spirit from the body. The piece has nearly 200 hours of design time & was built by EOS on their largest format SLS printer in polyamide, filling its build envelope to full dimensional capacity.

Headdress has shown in London (Royal Agricultural Hall/Business Design Centre), Paris (the Louvre), New York City (Metropolitan Pavilion), St. Petersburg Russia (Erarta Museum of Contemporary Art), & Los Angeles.
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source: contemporist

Artist Joshua Harker has used 3d printing technology to create the Quixotic Divinity Headdress. The piece has nearly 200 hours of design time and was built by EOS using their largest format SLS printer.

The headdress will be debuting in the United States at the 3D Printshow New York City at the Metropolitan Pavilion in February 2014.

Description

Exploring the limits of the 3d printed medium & inspired by traditional Native American, Latin, African, & Asian headdresses & masks, this piece celebrates the symbolism & ceremony of human adornment.

Revealing the wearer’s identity, the face mask hangs in position as a floating bodice symbolizing the freedom of the spirit from the body.

The piece has nearly 200 hours of design time & was built by EOS on their largest format SLS printer in polyamide, filling its build envelope to full dimensional capacity.

Catwalk premier was in London then to Paris at the Louvre.
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source: puyanama

طراحی این ماسکِ پیچیده و خلاق توسط Joshua Harker انجام شده و بوسیله‌ی چاپگر سه‌بعدی پرینت شده است.

او نامِ “Quixotic Divinity” را برای این پوشش سر برگزیده است. این محصول الهام گرفته از پوشش سرها و ماسک‌های آمریکای لاتین، آفریقا و آسیایی است و زمانِ طراحی‌اش چیزی حدود 200 ساعت می‌باشد که توسط بزرگترین پرینتر سری کمپانیEOS چاپ شده است. این روش انقلابی در طراحیِ خلاقانه‌ی مدهای high-fashion ایجاد خواهد کرد.
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source: fahrenheitmagazine

Explorando los limites de la moda, arte y la tecnología; Joshua Harker diseñó una pieza especial llamada “Quixotic Divinity”. Con ayuda de una impresora 3D realizó un tocado en color blanco inspirado en diversas culturas: asiática, latinoamericana y africana. 200 horas fueron invertidas para hacer posible esta obra.
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source: gizmodoit

La stampa in 3D si sta diffondendo in tutti i settori, e la moda non fa eccezione. Lo dimostra questo elaboratissimo (e anche parecchio difficile da portare) copricapo bianco che fa somigliare chi lo indossa ad una versione brocca di Predator.

Il disegno è del designer Joshua Harker ed è stato stampato in 3D per una sfilata di moda andata in passerella a Londra. Ecco alcune foto della sfilata.
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source: blog3dprintusru

Потрясающая коллекция распечатанных на 3D принтере головных уборов Quixotic Divinity от Джошуа Харкер

Джошуа Харкер всегда был творческой личностью. Он использовал технологию 3D-печати для создания шикарных произведений искусства. Его распечатанные скульптуры, Crania Anatomica Filigre и Anatomica di Revolutis, одни из самых финансируемых на Kickstarter.

Последняя работа Харкера – коллекция головных уборов Quixotic Divinity, созданная с помощью 3D-печати. Форма, детали и сложная декоративная отделка полиамидных уборов наглядно показывают, какие замысловатые объекты могут создавать современные принтеры.

«Исследуя возможности 3D-печати и вдохновившись традиционными головными уборами и масками американских индейцев, жителей Африки и Азии, мне удалось создать полные символизма произведения. Маска отражает индивидуальность человека, символизируя освобождение духа от тела».

Головные уборы созданы с помощью селективного лазерного спекания. Общая продолжительность создания составила около 200 часов, для работы использовался принтер большого формата от EOS для печати полиамидом.

Премьера на подиуме состоялась сначала в Лондоне, а затем в Лувре, Париж. 13-15 февраля изделия также появятся на выставке 3D Printshow в выставочном центре Metropolitan Pavilion в Ньй-Йорке, США.
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source: gizmodojp

なんと細かい作り、さすが3Dプリンター。

なんでしょう、どっかの部族がプレデターに出会ったみたいなこのデザインは!? 制作したのは、Joshua Harker(ジョシュア・ハーカー)さん。制作には、もちろん3Dプリンターが使われました。これはSF小道具ではなく、ハイファッションなヘッドドレス、ロンドンのランウェイショーにてお披露目されました。
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source: joshharker

Bio
Joshua Harker (b.1970) is an American artist considered a pioneer & visionary in 3D printed art & sculpture. His series of “unmakeable” technically complex tangles is credited as the first to break the design & manufacturing threshold of possibility. His pursuit of a process to bring his works into the 3rd dimension culminated after nearly 20 years in a perfect storm of software development, materials engineering, & 3d printing technology advancements. He went on to navigate the creation of his “Tangle” series in the archival material of cast bronze, thus bridging the traditional techniques of the past with technology of the present. To fully appreciate the gravity of the pieces one must understand the practical impossibilities of their existence. This has been considered a landmark event in the history of sculpture & the chronology of the 3D printed medium & has made him one of the most recognized artists in the field. Along with his techniques, subject matter, & execution, his experimentation in the dissemination of his art through digital media & the internet has garnered him international recognition & acclaim. He holds the #1 most funded Sculpture project in Kickstarter history & is among thousands of collections. His work has appeared in countless publications & press worldwide.

Declared a prodigy as a young child, he assumed the identity of an artist from his earliest pursuits. His parents were both artists connected to Grant Wood through his colleague & former student John Bloom & his wife Isabel. Joshua’s young life included post 60’s off-grid communal living, Hell’s Angels babysitters, complete artistic immersion, and family tragedy. Joshua attended the Kansas City Art Institute and St. Ambrose University as well as later studying anatomy & forensic arts. Joshua’s fascination with digital sculpture and 3 dimensional printing technology began as a commercial sculptor and designer in the toy, invention and design, special effects, and product development industries. In the late 90’s he founded a boutique design and development firm servicing some of the largest global properties and corporations. He served as its president & CEO through 2008 after which he left his post to return to art.

Curriculum Vitae

Artist’s Statement
“My art is about pushing the limits of form… an exploration into what can be made & how to accomplish it. I incorporate digital tools, software, & technology in my work not only out of utter necessity in the forms I make but also that I feel absolutely compelled to make art with it, to humanize the inhuman as we’ve done with stone, clay, metal, & wood… digital data as medium, computer as chisel, & 3d printer as forge.”

“My art touches on abstract neo-surrealism and is invariably contemporary. Stemming from 2D linear automatism explorations (pioneered by André Masson and practiced notably by Miró, Breton, Dalí, Arp, and Picasso), my “Tangle” series are intended to interpret and share forms evident in the mind’s eye but that cannot otherwise be described. My intent is to explore and give form to the architecture of the imagination. I have begun to apply this practice to representative forms. The linear pattern work is an exploration of the 3 dimensional surface giving a new identity to the shape & inviting the viewer to discover the form through the gentle visual lead of the pattern. I am currently bridging my 2D & 3D work via projection mapping my images & animations onto my sculptures in large scale live installations. The intention is to explore incorporating the 4th dimension of time into my pieces.”

“Bolstered by the advent of sculptural softwares, 3D printing technologies and material engineering, my visions are now able to be realized sculpturally in archival materials. Never before have forms of this organic complexity been able to be created. This boon of technology is a revolutionary time for the arts and one which will be boldly marked in history. I am honored to be considered one the pioneers in the medium.”