Theatre set design is a time-consuming process. From creating multiple renderings to producing preliminary and finalised models, set designers spend hours handling 3D objects. These models are important spatial visuals for members of the creative team, actors, and contractors (Christina Smith, 2021). However, handmade models have limited scalability. At a 1:25 scale, handmaking miniature models is difficult and tedious work, requiring around one week (Katie Remark, 2022).
With 3D printing (3DP) technology, such pain points can be addressed effectively. Its precision and accuracy make manufacturing intricate models possible without compromising detail (Katie Remark, 2022). The scalability and replicability of 3DP eliminates the margin for human error. This precision not only enhances the fidelity of models to their technical drawings, but also saves time and resources. Instead of handmaking miniature models, set designers can leave them to be 3D printed. Additionally, 3DP’s additive manufacturing process allows it to be sustainable, with less wastage generated (Ngo et al., 2018).
Though 3DP has numerous advantages, many local theatre companies and set designers have yet to adopt this method. Mr Gavin Low, a theatre practitioner and educator, suggests some deterrents are the lack of access to 3D printers and it is “troublesome for those who are used to handmaking their models”. He feels creating a 3D rendering and sending it to a 3D printing company is redundant, as experienced set designers can handmake models quickly. Perceived high costs and budget constraints are also deterrents (Locanam 3D Printing, 2023).
Despite these concerns, set designers will benefit from using 3DP. To 3D print an object, users must create a printable rendering using 3D modelling and slicing software (Sam Daley & Jessica Powers, 2022). AutoCAD is a computer-aided design (CAD) software widely used by local set designers that is capable of this (Autodesk, 2024). Traditionally, set designers create technical drawings, floor plans, and 3D renderings on AutoCAD, before manually making physical models. Streamlining this manufacturing process with 3DP “simplifies the drafting process”, says Canadian set designer Kevin McAllister, who has used 3DP in his work since 2014. Integrating 3DP is highly possible, starting with AutoCAD.
Challenges of implementing 3DP include funding and the lack of 3DP-proficient manpower in the local arts industry. Though local engineering students are taught 3DP (NTU Singapore, n.d.), the same cannot be said about arts students. To develop 3D printing proficiency, education is essential. Training current set designers and subsequently introducing 3DP into arts school curriculums would future-proof its usage in the arts (Brian Gentry, 2018).
The Capability Developmental Grant (CD) under the National Arts Council encourages talent development with up to 70% of expenses paid, capped at $20,000 yearly for individuals and $75,000 for non-profit organisations (National Arts Council, 2023). For Self-employed Persons contributing to the arts, the CD grant funds up to 90% of expenses capped at $20,000 annually. A starter 3D printer, Elegoo Mars 3 Pro 4k, costs about $400 while AutoCAD’s subscription service costs $2,845 per year. These costs are subsidised by the CD grant. However, some may still be hesitant to apply. Fast-tracking application processes specific to 3DP should lower this resistance. With these strategies in place, I predict 3D printers would soon become a common sight in theatre as more set designers start learning 3DP.
In conclusion, the pros of implementing 3DP technology to theatre set design heavily outweighs its cons. Streamlining the traditional manufacturing process in theatre would increase efficiency within the industry. With adequate preparation, skill development, and funding, 3DP has the potential to revolutionize set design in the next decade.
References
Autodesk. (2024). Autodesk AutoCAD 2024 | Get Prices & Subscribe To AutoCAD Software. Autodesk. https://www.autodesk.com.sg/products/autocad/overview?term=1-YEAR&tab=subscription&plc=ACDIST
Brian Gentry. (2018, March 12). 3D printer brings ideas to life for theatre students – University of Lynchburg. https://www.lynchburg.edu/news/2018/03/3d-printer-brings-ideas-to-life-for-theatre-students/
Christina Smith. (2021, May 10). The Set Design Process. Melbourne Theatre Company. https://www.mtc.com.au/discover-more/backstage/the-set-design-process/
Katie Remark. (2022, March 18). How 3D Printing Is Building Itself Into Theatre. https://amt-lab.org/blog/2022/3/3d-printingbringing-theatre-to-life-in-a-new-way
Kevin McAllister, & Belfry Theatre. (n.d.). 3D Printing in the theatre | The Belfry Theatre. Retrieved 16 February 2024, from https://www.belfry.bc.ca/3d-printing-theatre/
Locanam 3D Printing. (2023). Locanam 3D Printing’s answer to Why aren’t 3D printers more prevalent if the technology exists? - Quora. https://www.quora.com/Why-arent-3D-printers-more-prevalent-if-the-technology-exists/answer/Locanam-3D-Printing-1?ch=10&oid=1477743681546660&share=d861682c&srid=u6bYfH&target_type=answer
National Arts Council. (2023). Capability Development Grant. https://www.nac.gov.sg/docs/default-source/support-files/funding-and-schemes/capability-development-grant/cd-grant-guidelines.pdf?sfvrsn=2e2e213c_25
Ngo, T. D., Kashani, A., Imbalzano, G., Nguyen, K. T. Q., & Hui, D. (2018). Additive manufacturing (3D printing): A review of materials, methods, applications and challenges. Composites Part B: Engineering, 143, 172–196. https://doi.org/10.1016/J.COMPOSITESB.2018.02.012
NTU Singapore. (n.d.). Singapore Centre for 3D Printing (SC3DP) | NTU Singapore. Retrieved 14 February 2024, from https://www.ntu.edu.sg/sc3dp
Sam Daley, & Jessica Powers. (2022, July 28). 3D Printing: What It Is, How It Works and Examples | Built In. BuiltIn. https://builtin.com/3d-printing
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