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So, this month, we have a whole host of goodness for you to read

and digest. The team has recovered from D3D Live (yup, it takesthat long for the dust to settle) and were back on track.

In our cover story Stephen looks at the recent legal precedent

set by the case surrounding Trunki and an alleged knock off of

its Community Registered Design. Im it will strike a chord with

many readers that have faced intellectual property protection

issues during their career. The need to protect your design

work, whether through patents or other means, should be an

inalienable right if youve developed a new product or a new innovative solution to

a problem. Or so youd think.

Elsewhere in the issue, Tanya looks at how Robert Welch Designs makes its

beautiful knives and cutlery, we also take a look at some news from the 3D printing

world, delve into the latest 3D design system releases, namely Inventor, Solid Edge

and PowerShape, as well as a system that works alongside them KeyShot 5 for

rendering and visualisation.

Also, as a final note and with a fair bit of sadness, we got word that our residentsustainability columnist, Chris Sherwin, is taking a break from writing his bi-

montly columns. Id like to take this chance to thank Chris for all his articles over

the last year or two. Hes a busy man (as youd expect of the head of sustainbility at

SeymourPowell) but you can keep up to date with his views on twitter by following

him @sherwinnovator.

As I write this, Ive just walked in the door after being soaked to the bone by a

huge rain storm. British Summer is here, it would appear. Enjoy!

WELCOME

EDITORIAL

Editor-in-ChiefAl Dean

[email protected]+44 (0)7525 701 541

Managing EditorGreg Corke

[email protected]+44 (0)20 3355 7312

Consulting Editor

Martyn [email protected]

+44 (0)7525 701 542

Digital Media EditorStephen Holmes

[email protected]+44 (0)20 3384 5297

Special Projects EditorTanya Weaver

[email protected]

+44 (0)20 3384 5296

DESIGN/PRODUCTION

Art DirectorRob Biddulph

Design/ProductionGreg Corke

[email protected]

+44 (0)20 3355 7312

ADVERTISING

Advertising DirectorTony Baksh

[email protected]

+44 (0)20 3355 7313

Deputy Advertising ManagerSteve King

[email protected]

+44 (0)20 3355 7314

US Sales DirectorDenise Greaves

[email protected]

+1 857 400 7713

SUBSCRIPTIONS

Circulation ManagerAlan Cleveland

[email protected]

+44 (0)20 3355 7311

ACCOUNTS

Accounts ManagerCharlotte Taibi

[email protected]

Financial ControllerSamantha Todescato-Rutland

[email protected]

ABOUT

DEVELOP3D is published by

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Join our online community

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8/10/2019 Develop3D JUN 2014


NEWS

Autodesk gets into the 3D print game, Formlabs to launch

next generation 3D printer, Intel boosts Core i7 CPU and

the National Women in Engineering Day celebrations

COMMENT

With the recent Hour of Code, Tanya Weaver wonders

whether its just kids who should learn how to program

YOUR DEVELOP3D

Tell us what you think. This month: Your views on the

recent Trunki vs Kiddee Case court battle

FEATURES

Visual design guide: Linde reach truck

Product design showcase: Kitchen products

COVER STORYAre your designs safe?

Robert Welch Designs celebrates 50 years

Bringing CAE to the board room

Josh Valman, the 19-year-old CEO of RPD International

Five-axis machining in the automotive industrySteinbichler 3D scanner offers a sweet solution

REVIEWS

SolidEdge ST7

Inventor 2015

Luxion Keyshot 5

PowerShape Pro 2014

DEVELOP3D SERVICES

DEVELOP3D JOBS

THE LAST WORD

Al Dean thinks that all signs point to 2014 going down as

the year of the stereolithography machine

JUNE 2014 ISSUE NO. 59

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The wood used to produce this magazine

comes from Forest Stewardship Council

certified well-managed forests, controlled

sources and/or recycled material

CONTENTS

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NEWS

NEWSPRODUCT DEVELOPMENT NEWS

In the past few years Autodesk

seems to have gained the

attention of the 'maker' crowd.

Partly through the release of

cost effective and easy to use

applications to support 3D modelling,

but also through its smart, effective

marketing to that group.

While other 3D CAD software vendors arestarting to talk-the-talk, few of them have

gained the same kind of respect from those

outside the professional engineering and

design world.

So, it was with some surprise, but perhaps

a little expectancy considering its recent

activities in the space, that Autodesk made

two key announcements at Silicon Valleys

Makercon in May.

At this maker movement event,

Autodesk's CEO, Carl Bass, announced that

the company will not only be introducing

a 3D printer, but also an open platform to

assist with making 3D printing easier for

both the consumer and professional alike.Ofcial details of the 3D printer are

currently thin on the ground, and while

DEVELOP3D has a little bit of an inside

track, were not allowed to share much

of that yet. We can tell you that its a

stereolithographic device that has some

very interesting capabilities. The target

price is around the $5,000 mark. Its also

British designed in terms of both the

research and development.

So Autodesk has entered the 3D print

hardware market, but what sets it apart

from many of the other vendors is its

experience in software.

To this end, Autodesk also unveiled Spark,which Bass describes as an open software

platform for 3D printing, which will make

it more reliable yet simpler to print 3D

models, and easier to control how that

model is actually printed.

While it's early days, it seems that

there's a fair bit of interest in working with

Autodesk on one of the most fundamental

challenges facing the 3D printing industry,

particularly at the desktop/prosumer level,

that of how to print reliably and repeatably.

Considering the quality of its work of

late in the same eld, including a range of

tools coming out of Autodesk Labs, such as

Meshmixer and its 3D print utility, Sparkcertainly looks like something that many of

the smaller hardware vendors might jump

on board with.

Bass states that the Autodesk 3D printer

will serve as a reference implementation

for Spark. It will demonstrate the power

of the Spark platform and set a new

benchmark for the 3D printing user

experience."

The most intriguing thing about these

announcements is that both of these

products/platforms will be open.

As Bass comments, Spark will be

open and freely licensable to hardware

manufacturers and others who areinterested. Same for our 3D printer the

complete design of the printer will be

made publicly available to allow for further

development and experimentation. The

printer will be able to use a broad range of

materials, made by us and by others, and

we look forward to lots of exploration into

new materials.

The details are scarce, but the gist is that

if you want a printer theyll ship one and if

you want just the plans, you can have those

and build one yourself.

This is undoubtedly exciting news for

the 3D printing market. Many design and

engineering rms are still reticent aboutbringing 3D printing in-house, whilst others

are looking for stereolithography-level

part quality. Autodesks move should shake

things up in and, of course, it has a massive

user community to market to.

autodesk.com/spark

First concept rendersof Autodesk's 3D

printer. While ofcialdetails are slim,

it's a DLP-basedstereolithography

machine with someunique characteristics

that lets it build high

resolution parts withUV curable resins. The

target price is $5,000

AUTODESK GETS INTO THE 3D PRINT GAMEWITH ITS OWN DEVICE... COMING SOONOf all the 3D design vendors, Autodesk talks the biggest game about the "makerrevolution." With the announcement of its own machine coming later this summer,

Al Deanlooks at what it means for a much hyped industry and beyond

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NEWS

Those that follow the 3D

print industry will be

familiar with FormLabs and

its Form1 machine, which

took Kickstarter by storm

in 2012 and garnered funding to the

tune of nearly $3million. It's a new

take on stereolithography that places

high resolution, UV curable resin part

building on the desktop, rather than in

the workshop.Since 2012, FormLabs worked through

the nal stage of Form1's development

and last year it shipped to all those eager

supporters nding homes in design ofces

and enthusiasts' garages alike.

Between now and then, the company has

been through renement of its software,

which, compared to some 3D print software,

is actually nice to use. It has also introduced

new resin colour options alongside the grey,

namely clear, white and black.

During that process, the company came

under re for the reliability of some of the

mechanical components as well as how it

handled service and repair. Essentially, themachine arrived calibrated out of the box

and any subsequent repairs required the

whole unit to be shipped back to the US for

rework. Not ideal for those of us on this

side of the pond.

NEW MACHINE NEW SUPPORTThis month, FormLabs is releasing the rst

update to its original product with the

Form 1+. This follows the same form factor

and use model as the original unit, but with

some new, under the hood, updates that

should make it both more reliable as well as

improve the build speed.

FormLabs has redesigned the mechno-

optics in the system to be both more robust

and, in combination with a more powerful

laser, enable quicker build speeds.

Other changes include a redesigned resin

tray, which is now built in injection moulded

orange plastic to cut down on accidental

curing of resin post build, and there's also anew black material option as well.

Also, interestingly for the European

professional, from this point on, FormLabs'

machines, ancillaries, consumables and

servicing will be carried out from the UK.

As Gideon Balloch, who runs Formlabs

operations, says,"When we think of our

customers, we know that they are lookingfor more than great print results they

are looking at the whole experience. This

is something we always strive to improve,

and our European presence is going to help

us step up our game in several measurable

ways."

Its also worth noting that from now on,

the company will be offering a one year

warranty with the Form 1+. This brings it

in line with customers expectations at the

higher-end of the desktop market. If you've

already invested in a Form 1, however, then

the company is also planning an update

program so that the older machines can be

retrotted with the new mechanics at acost, of course.

formlabs.com

Above:The Form1+features a higher-

powered laser,improved mecho-

optics and a newcontrol system, all

of which adds up toquicker build speeds

Left:There's also anew material option

for black parts,alongside the existing

clear, grey and whiteresins

FORMLABS TO LAUNCH NEXT GENERATIONOF ITS STEREOLITHOGRAPHY 3D PRINTER

How R&D into materials

and manufacturing made

the worlds thinnest mobileworkstation, the Dell

Precision M3800, a reality

tinyurl.com/DellM3800

Disney takes on robotics,

CAD and 3D printing in Big

Hero 6, an animated lmwhere a robotics prodigy

takes on a criminal gang.

tinyurl.com/disneyCAD

CAD/CAM specialist

Tebis celebrates its 30th

birthday by scanning thefaces of its guests and

milling them in aluminium

tinyurl.com/tebis30

Coffee expert illy challenges

budding engineers to design

a system that deliverspressurised hot water in an

espresso machine

tinyurl.com/illydesign

Bang & Olufsens latest

55-inch TV, the Avant, glides

into position automaticallyswivelling on its mechanical

stand to face the viewer

tinyurl.com/BangAvant

DEVELOP3D.COM THE BEST FROM THE BLOG

The Form1 3D printer renewed interest in stereolithography and kicked off the next

stage in the 3D print industry's evolution. With expansion of its service operations to

Europe and a new machine coming, Al Deancatches up with FormLabs

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8/10/2019 Develop3D JUN 2014


COMMENT

but how do you look up homework?

The internet turned 25-years-old on 4

March 2014 and in celebration code.org,

a non-profit organisation dedicated to

expanding participation in computer science

education by making it available in more

schools, launched the Hour of Code on the

same day.

If youve missed it, coding is big news.

Everyones doing it. Its the new literacy

apparently. So much so that as of September

2014 coding will be part of the School

Curriculum in England and taught to children

from as young as five.So, to get teachers and parents up to

speed, the Hour of Code offers online

tutorials on its website with the aim

of teaching the basics of computer

programming in 60 minutes in a fun, simple

way. Tutorials include things like writing

lines of code to get an Angry Bird to catch a

little piggy or using Scratch (your guess is as

good as mine) and a Raspberry Pi computer

to control a blinking LED.

code.org has many partners and

supporters who have jumped on the

coding band wagon including our favourite

Technology Messiah will.i.am but theres

also the inventor of the internet himself,Tim Berners Lee, who has this to say about

the campaign: Learning to code gives you

a completely new perspective when you

look at a computer. Before, you think of it

as an appliance like a fridge accepting

what it can do. After, you know that you can

code that computer to do anything you can

imagine it doing. Thats a massive change

and a massive challenge!

Although we may not like to admit it,

computers do run our lives. And as Berners

Lee says, if you can programme that

computer to do what you want, thats where

the future lies. Even Stephen Hawking,

another code.org supporter, says, Whetheryou want to uncover the secrets of the

universe, or you just want to pursue a

career in the 21st century, basic computer

programming is an essential skill to learn.

Apart from those frantic teachers who

have a few months left to learn how to code

In May I jetted out to Munich

for a couple of days as Tebis,

a software company that

develops CAD/CAM systems,

was hosting an open house

in celebration of its 30th

anniversary. The event didnt

only focus on the present

and future technologies but also

where the company has come from by

way of the Tebis Museum. This room

showed a progression from old to new

technologies including the very rst

computer that Tebis CEO used when hestarted the company in the early 1980s

(its there on the right).

Although it looks like a fossil by todays

standards, its pretty incredible to think that

this was just 30 years ago! Over the years,

the computer has lost weight, changed from

grey into an array of colours, has a screen

that offers more than just green and black

and has undergone many style makeovers.

Just to prove how unrecognisable this

grey great grandfather is, is to put it in front

of children who have grown up swiping,

scrolling and clicking. In fact, a very funny

seven minute video was posted onto

youtube recently entitled Kids React to OldComputers, which is part of a series by Fine

Brothers Productions (watch it here:

bit.ly/1pbZb5x).

It shows a range of kids aged between

seven and thirteen reacting to a computer

from the late 70s/early 80s. Pretty similar

to this Tebis one in fact. Their reactions are

priceless and the video has gone viral being

viewed more than 10 million times in just

two weeks.

Some of the kids had no idea that it was

a computer and were very surprised when

they were told. It doesnt look like anything

we have now, said one of the boys. They

were guffawing and poking fun at its largesize, on/off switch, green text, floppy disk

and lack of mouse.

Of course, this computer would have also

not been connected to the internet because

the internet hadnt been invented yet. This

really shocked the kids with one girl saying

In case youve missed it, coding is bignews. Apparently its the new literacy.

Tanya Weavertakes a look at the Hourof Code campaign and wonders ifmore of us should be learning how

to code and not just leaving it to kids

Tanya Weaver is the special projects editorat Develop3D. Beehaus update: the residentshave swarmed for the second time this seasonbut Tanya still lives in hope of [email protected]

in order to teach it in the classroom before

September, should the rest of us be taking

lessons and tutorials too?

Many think that we should. Arguing that

its a valuable and marketable skill that will

increase your work speed and help you come

up with creative solutions whatever your

job. If you can speak basic code language

it means you can communicate better with

your companys developers or programmers

and, of course, those children from the video

earlier, who will be entering the job market

in a few years, will no doubt be fluent in it.

So time to learn your ABCs (thats code for

Always Be Coding).

The rst computer

that Tebis CEOBernhard Rindeisch

used when he startedhis company just 30

years ago

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Your DEVELOP3D

Is it possible that, in the eyes of the judges

and courts, slightly detailed drawings

(including CAD representations) are

considered to have less barriers against

copies, than old-style and subjective

drawings ? Or, is just a lack of consideration

to the new ways of presentation and

registering?

Maybe concepts get less IP protection

when we start to consider CAD surfaces

for comparison, due to having many more

possibilities of changing and differencesof acceptance. But yeah, clarication is

needed about these 'new' technologies on

the 'old fashioned way' of regulations and

trials.

F Hilaio

I'm all for protecting a design from actual

copy, i.e. copyright protection, but if

someone sees a concept they like and

draws up their own designs, even if they

Your views on 'Are your designs safe?' relating to the Trunki intellectual property

battle as featured on the develop3d.com blog and LinkedIn pages (more on page 20)

are very similar, that is NOT COPY. For

that to be an infringement, it would be

entering patent territory, something which

I am strongly against. I am a designer and

manufacturer, and yet I nd the concept of

making money out of everyday ideas (just

because somebody knows the system and

got there rst) quite abhorrent. Indeed,

rather than protecting people's IP so they

can invest in R&D, it's hindering people

from expressing themselves and their

talent through fear of patent trolling and

similar. If it was not a direct copy, I daresay

you think you deserve to live comfortablyin a thatched cottage in the country

forevermore, while a legal system which we

all pay for prevents anyone else from ever

making a bag with wheels and kid friendly

decor ever again.

I can't imagine this is going to be a

particularly popular comment.

Lloyd

Good design makes money and the

prospect of making money will always

attract imitators.

Intellectual property rights don't protect

anything at all from determined copyists.

All they do is assert the owner's right tochallenge over specic details in specic

territories in a specic time frame. That

invariably means incredibly expensive

court challenges that the owner of the right

has to be able to afford and has to be

really sure that their IP is robust.

I always advise clients to think hard

about the value of IP. If you have deep

pockets and a very potentially lucrative

design it could be worth risking more on

good IP advice.

Sometimes it's best to accept that

success will breed imitation and invest in

getting to market fast and building a brand

that customers see value in.

Above all, plan an IP strategy that is

based on your ability to exploit value, not

on the hope that waving a certicate in

front of an imitator will make them go

away.

Alitai Williamo

The law is always reactive to technology

and this is a clear case of the law lagging.This isn't so much a deciency in the law as

it is the process by which laws are updated,

or not, until there is a problem. "Squeeky

wheels get the oil" works in law too. When

there is a big enough issue (read money)

then something is done to x the issue, but

technology is moving so fast that before

the law is considered, let alone enacted, it

is obsolete. There are some cases where

law has been written that takes account of

future developments, but these are rare.

I'm with Lloyd [above] to some extent on

IP protection, but I recognise there is a

need to protect the investment made in

developing a product or we would sufferbecause manufacturers would not invest in

production of the products we consumers

love to buy.

I have no idea what the solution is, but

what we have is awed to say the least.

Maybe another plaster will be stuck over

the gaping wound in the law to make it a

little more tenable for a litt le longer, but a

total re-think is needed and soon.

Bobbit

FEEDBACK

Got a opiio oaythig that ha(o ha ot) appeaedi the magazie oolie? Let u kowwhat you thik

Geg [email protected]

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Liked IDEVELOP3D goup

Lette may be edited

Why did you become a deige?I have drawn objects of myimagination from when I can

remember, and it was mygrandmother who was an architectwho suggested an engineeringdegree followed by a design degree,which is what I did.

Which deige o compay doyou mot admie ad why?There is no individual designeror company that I admire foreverything they have done, butonce in a while I see a product, adetail, a piece of art or music whichfrustrates and annoys me because Ihadnt thought about it, and that iswhen I realise that I really admireit: like the fold up plug by Min-KyuChoi, or the Shard.

What poduct couldt you livewithout?I am not emotionally attached toany products and I never shop formyself. I would feel most upset if Ilost my surfboard that my brothermade for me.

What deig would you haveloved to have deiged ad why?I think the wind up radio by Trevor

Baylis was a stroke of genius, Iwould have been proud to havedesigned that.

Play-Doh, Meccao o Lego?A designers greatest pleasure is tosee the satisfaction of people whoare touched by our thoughts anddreams, Lego has touched the livesof so many children (and parents)over the last fty years or more, soits a clear winner..

What ae you weapo of choice?Thinking in complete darkness andsilence (normally around 3am), a bicand A5 scrap paper, Rhino, Keyshot,Photoshop and a 3D printer.

What i miig fom youtoolet?The tongue of a natural bornsalesman, but Im working on it!

What would make you deigad developmet poce umoothe?

The smoothness of the processdepends mainly on the relationshipbetween the various people

involved in the project: the client,marketers, designers, engineersand manufacturers, and when thereis a great team and trust betweenthe stakeholders, the process runssmoothest. As designers we areworking in a privileged age with thetools we have, and they are gettingbetter year on year.What would you ay i the biggetchallege facig deige?I think the biggest challenge facingdesigners, ironically comes fromthe opportunity that designers aregetting as design becomes big inbusiness: it becomes sucked intothe corporate system and loses

its creativity. I believe that weare in a period of design historywhich is uncertain, there is lack ofleadership and direction from anartistic point of view.

Ca you pedict ay futue ted?To continue the point above Ithink we are in a period which

does not have dening trends,but rather dening brands. Themajor inuences on design will

be technological, enabling usto communicate our thoughtsand ideas more seamlessly, andallowing us to bring ideas to lifebecomes quicker and easier whichwill lead to more personalisation,and customisation.

If you wee hotig a die patywho would you ivite ad why?Mohamed Ali for the banter,Bob Dylan for the music, NelsonMandela to stop the arguing,Marylin Monroe to nd out whatreally happened, my wife of course,and my grandmother because Imiss her.

Carsten Astheimer heads the teamat design studio Astheimer Limited.

With degrees in both engineering and

design, he has over 20 years experience

in various strategic roles in design and

product development.

If you wat to take pat pleaecotact [email protected]

60 sECOnDInTErVIEW

CArsTEnAsTHEIMEr

rob Law, CEO of

Tuki, with hi kid'ide o uitcae

ivetio that habee copied

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In supporting Lindes vision to develop a new range of reachtrucks for taller warehouses, IDC Models, the rapid prototyping

and model making division of Industrial Design Consultancy

(IDC), produced a life-size block model of a reach truck using a

variety of different model techniques.

VISUAL DESIGN GUIDELINDE REACH TRUCK

final modelThe nal model was used byLinde test and rene the design,resulting in a new range ofmaterials handling trucks

full sizemodelSupplied with a steel chassis byLinde, IDC Models built a full-sizemodel based on Lindes CAD designspecications.

smaller

componentsSmaller components, such asthe windscreen, joysticks andknobs, were developed by rst 3Dprinting the components by SLA toform masters and then producingvacuum casts based on these

finishingtouchesTo make the model as realisticas possible, Linde suppliedadditional nishing touchessuch as rubber seals and othersmaller components

controlconsoleIDCs design engineers alsodeveloped a control console forthe reach truck and this wasincorporated into the model to betested by users

main partsIDC Models large format CNCmachine was used to create themain parts of the truck from ureolprecision modelling blocks

workmanshipThe components were pieced togetherwith a high standard of craftsmanshipand then sprayed and nished on-site atIDC Models

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BACK TOBASICS:POST PROCESSING3D PRINTS

Like developing a photograph?

I think you need to update yourculture and technological references.Unless youre 60, make a living fromphotography at the high-end, arty sideof the spectrum, folks dont developphotographs much anymore. In fact,the most high profile Snappy Snapsincident was George Michael driving hisChelsea Tractor into one.

Wham. So what are you banging onabout?

A little discussed part of the 3D printingprocess starts after the part has actuallycompleted its build process. Itscommonly the case (with almost everytype of build process) that theres somepost processing.

Hmm. I didnt realise that.

Youre not alone. Some vendors provide(at cost) the equipment to do it, othersdont. Theres even a growing market in

third party post process equipment. Forinstance, Quill (quillvogue.co.uk) has arange of wash stations for part clean upusing water jets whilst Ruwac(ruwac.com) has a range of explosionproof vacuums for helping with thatpesky powder removal processes thatmight go boom.

Wait. What? Explosions?

Oh yes. Explosions. We all knowpowders are explosive at the best oftimes. When youre talking metals, even

more so. And titanium is probably theworst of the lot. Theres a reason itsused in the manufacture of fireworksto this day. Coz it goes BOOM! That,my friends, you dont want in yourworkshop or on the shop-floor.

How much does this lot cost?

Anywhere from a pair of long-nosepliers for picking out FDM supportstructures to ten grands worth ofindustrial extraction and powderhandling. Just make sure you have theright equipment for the job and youllsave on those bottlenecks. And a pro tipfrom our editor, if youre ordering longnose pliers from Amazon, make sureyou check the length units as a 12-inchlong pair isnt much good to anyone.

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PRODUCTDESIGNSHKITCHEN PRODUCTS

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18/6818 JUNE 2014DEVELOP3D

The AEG 1.7 litre kettle withits Digital Temperature

Control and a real-timetemperature indicator allows

users to choose and controlthe right temperature for tea

or coffee

ON THE

BOIL

Hot beverages can be thesubject of much furiousdebate, but one thing that

we can all agree on is that AEGs 7Series kettle has been designed bysomeone that loves a brew.

With five (five!) programmabletemperature settings, you canenjoy your tea the way its meant to

be: 80oC green tea, 85oC white tea,90oC oolong tea, 95oC coffee, and100oC for black and herbal teas, allshown in real-time on the digitalLCD display during heat up.

A Turbo function, for whentheres an ad break, or youve sleptin late, boils 200ml of water in lessthan 60 seconds.

The performance factors ofthe entire 7 Series are the resultof AEGs professional rangedesigns for Michelin Star chefsthat have filtered down to thedomestic kitchen much like theautomotive technology that haspassed down from F1 teams toeveryday family saloons.

Added to the function is the formfactor. AEG Electroluxs designteam in Shanghai was responsiblefor the design, employingAutodesk Alias and Rhino tocreate the distinctive squarecle (asoft square morphing into a circleat the base) body shape.

A single-piece body is made from

stainless steel without a seam having been produced using astamping technique similar to thatused in the manufacture of softdrink cans.

Prototyping proved important indeveloping ergonomic points suchas the open handle and achievingthe right pouring angle usingfoam models.

The final product meets thecriteria of attractive professionalequipment theres never been abetter timed brew.aeg.co.uk

PROFILE

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Till recently European IP lawshave been some of the strongestand most vehemently upheld inthe world, yet a ruling in a singleBritish case looks set to weakenthem considerably.

Rob Law is the founder of British companyMagmatic, best known as the designer ofTrunki, a playful childrens suitcase that canbe ridden on.

In the winter of 2012 Law attended a

German trade show and spotted the KiddeeCase, a product by PMS International that hethought looked like a copy of his Trunki.

The Kiddee Case appeared again at othertrade shows, and Law wrote to the companyto warn it that the Trunki design was aEuropean Community Registered Design(CRD) and that he would be forced to takelegal action.

The case was heard in the British Highcourt in June 2013 where Magmatic won aninjunction against PMS product being soldin Europe on the back of its CRD protection.

PMS lodged an appeal that rested on

the interpretation of the grey scale CADrenderings filed by Magmatic as part of itsCRD.

They appealed on one element: thatsurface decoration should be taken intoaccount when considering European DesignRegistration, which up until now has alwaysfelt it shouldnt be, recalls Law.

Law told DEVELOP3D that, at the appealhearing the judges appeared unfamiliar withCAD renderings, and with this, the protectionof his registered design began to break down.

The lead judge ruled that: a distinctcontrast in colour between the wheels... thestrap... and the rest of the suitcase is shown,and that this contrast should be taken intoconsideration when assessing the overallimpression.

Law explains: All the big legal cases prioron design registration had been around

line drawings. They [the judges] thought Imust be one in a million who had registeredCAD drawings [renderings] instead of linedrawings.

Laws registration shows a Trunki caserendered in grey scale from six differentangles, with the wheels a slightly darker shadeto show they are a separate component.

In the case we tried to argue that it is themodern way of registering your productdesign, says a clearly frustrated Law.

Law explains that on the grey scalerendering the wheels of the Trunki case weredarker than the body, bringing PMS to arguethat he had always intended the wheels to bedarker than the body.

Because their wheels are the same colouras the body that then means they get aroundthe European Design Registration.

The court described the renderings as:computer generated three dimensionalimages which show the suitcase fromdifferent perspectives and angles and showthe effect of light upon its surfaces.

Ultimately, the sophistication of the images

led the Court of Appeal to determine it waswrong to discount all aspects of the CRDother than its shape, effectively limiting theamount of protection it offers.

On this argument the court of appealreversed the original verdict.

This decision could have a huge impacton the design industry. In theory it couldmean design registration for a shape canbe got around by simply adding surfacedecoration, like a print, pattern or marking,with little defence available to the designer.

THE THREATThe Trunki case is the first UK judgementin which a court has considered CADrenderings and found them to offer anarrower protection than the traditional linedrawings that might have provided moreprotection.

The result of this case, if left to stand, couldbe cited as precedent in future IP law suits,meaning that a company accused of copyinga design now stands much more chance ofgetting around the registered design if it wassubmitted as a render.

From Magmatics perspective the reversalof the verdict seems to have centred in somepart around the judges lack of familiaritywith computer aided design output.

Historic cases have always been judged

on line drawings, but this is only becausean alternative technology had yet to come toprevalence.

Technological advancements will alwaysmove faster than any statute and this raisesreal issues for the laws meant to protect andsupport the creative process.

It could also force designers to resort to out-dated forms of submission to protect theirwork.

A look at the European Community DesignRegistry website submission process giveslittle guidance as to whether line drawings orCAD should be filed for an application as the

graphical representation.Starting from 350, a CRD lasts for five

years and can be renewed a maximum of fourtimes, giving its holder a potential 25 years ofprotection for relatively little outlay.

Currently there are around 460,000 CRDs,with 75,000 new applications being processedeach year.

It is estimated that nearly 65 per cent of allCRDs submitted last year were not presentedas line drawings; potenitally leaving a vastnumber of designs less protected.

A COMPETITIVE MARKETPMS is naturally excited by the decision. In astatement its managing director Paul Beverleysaid the case is a victory for the competitivemarket.

The successful outcome of our appealis also welcome confirmation that design

PROFILE

A desier lki t ere his reistered desi has sparked a resh

debate er Itelletal Prpert (IP). Stephe Hlmes lks at h

this leal ase pts thsads desis arss Erpe at risk

8/10/2019 Develop3D JUN 2014


1 Rb La ith a e the Trki ases i

the rae

Revealed in government reports to be costing UK businessesan estimated 9.2 billion annually, intellectual property theft isnot a problem to be taken lightly.

UK laws regarding product design have been reinforced,making copying a design a criminal offence, enablingmanufacturers and designers to protect their innovation.

Protections available for a physical design slightly vary: a

new invention can be patented, giving the owner the right toprevent others from producing it without permission.

A registered design grants exclusive rights for the l ook andappearance of the product predominantly the external form and stops replicas being produced in the area it is led for,usually referring to more aesthetic design.

ip..k

InTELLEcTuAL PRoPERTy LAwS In THE uK

1

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I feel for Rob. I have been ripped off inevery way possible. Its hard enough gettinga product to market yet alone having to fightcopycats to keep your market space.

I have to make a strategic decision aboutIP that exposes me to incredible risk (I doaccept that comes with the territory) butlets say, I have a clever design that hasntbeen proven in the market. Do I star t topatent it now only to face escalating coststhat start in 18 months? Or do I take a flyerand attempt to get lightweight protectionvia a registered design, which will bepublished in the public domain almostimmediately, allowing competitors to gainsight of what I am doing? Or do I do neitherand focus on the quickest and best route to

market? Or all the above?At the start of my career I was advisedthat my products trade name would be mymost valuable asset. Its true, trademarksare easier to protect and enforce, but itsimpossible to create a brand withoutproducts to build it around.

So, for fear of just continuing an age oldrhetoric, the whole system appears oldfashioned and stacked in favour of biggerbusiness, having a stifling effect on SMEinnovators like myself. I think we need anew middle ground something deeperthan a registered design that perhaps can

be extended into something like a patent,as a product evolves and business grows.Something that acknowledges a designersoriginal work beyond its exterior form.Something that a final year student, SME orindependent inventor could actually affordto protect and maintain.

Design law is complicated even for IPlawyers and it is not helped that there islittle clarity from registration authoritieson what designers can or cannot rely on

with their submissions. UK designers areat a further disadvantage because, unlikeour EU counterparts, if IP law fails them,they can turn to much stronger unfaircompetition laws. This, coupled with thefact that both UK and EU registrationauthorities do not examine designregistrations, puts any designer at anunfair disadvantage. At least if they wereexamined, formative feedback could evolveinto better guidelines as to what is and isntprotected.

Its time for clarity and ACID has written

a submission seeking re-examination to theSupreme Court not only for Trunki but forthe design community as a whole.

Its good that so many designers haveunited to support Trunkis designer RobLaw because the reality for many lone,micro and SME designers who suffer fromdesign theft is that legal redress is a dream.I fully support the #ProtectYourDesigncampaign and hope that the combinationof grass roots support with a positiveresponse from the Supreme Court willprovide the right answers to support UKdesign talent and clarify registration rules

for the future.IP ethics, compliance and respect should

be in the DNA of all successful companies,its time that those who espouse theprinciples of CSR should stand up and becounted!

Like designers, you get a different opinionfrom every lawyer. The basics can be foundthrough simple online research. Maybedesigners dont like doing it but for me

its part of the business of design and theservice we offer customers.

Also, how many professional designers in-house and consultancy can honestlysay they have never done what Kiddee Casehave done? Perhaps not quite as blatantlybut for many the starting point of a designproject is looking at whats out there anddesigning around protections that are inplace. Perhaps this is the elephant in theroom in the design industry?

I have looked at the competitor productto Trunki and (this wont be popular) in

my opinion it is sufficiently different to getaround Design Registration status theshape, the details, are all sufficientlydifferent (when viewed by a layman). Yes ofcourse it is very similar but it is not a directcopy. The value of the Trunki product orbrand is in the idea that the child can rideon the case and perhaps the advice theyshould have had was to patent this idearather than apply for the (much cheaper)design registration.

To some extent there will be no winnersnow the cats out the bag, more copieswill tooled up right now and the lawyers

are salivating. Im not going to subscribe tothe view that this ruling affects thousandsof British designers. That is rubbish. Ourcustomers are already affected by this. Likeall patent related cases the better the qualityof the original application, the better thelikely outcomes will be.

ToM LAwTon DIDS MAcDonALD KEvIn QuIgLEy

DESIgnER AnDInvEnToR

AcID (AnTI coPyIngIn DESIgn)

ownER, QuIgLEyDESIgn

For fear of just continuing

an age old rhetoric, the

whole system appears old

fashioned and stacked in

favour of bigger business

Tom Lawton

The reality for many lone,

micro and SME designers

who suffer from design

theft is that legal redress

is a dream.

Dids Macdonald

Ive looked at the competitor

product to Trunki and in

my opinion it is sufficiently

different to get around

Design Registration status

Kevin Quigley

8/10/2019 Develop3D JUN 2014


I believe the Court of Appeal were wrongto overturn the ruling of the High Courtwhich found in favour of Magimatic(Trunki). It predominantly based their

decision on colour and surface patternaesthetics to reach their conclusion thatthe Kiddee Case would not give the sameoverall impression to the consumer as theride-on Trunki,.

Interestingly, Paul Beverley of KiddeeCase attempted to side-step the allegationsof copying by stating that he himself didnot create the artist impression nor thedesign or prototype as he is neither anartist nor designer. Ironically, had he been adesigner the likelihood is he would not haveinfringed another designers product.

Does this present an immediate loopholein the tenaciously fought and recently wonchange to the IP Bill where blatant copyingof a registered design is to be subject tocriminal sanctions? Who will be prosecuted the person or business commissioningand directing the copy or the personphysically undertaking the copying?

A Community Registered Design intodays fast moving market does notremain static it continuously evolves whilstremaining true to the core innovationwhich opens up new markets and sectors.

Overall, the Court of Appeals decision

strikes a bitter blow to UK productdesigners if ergonomics, features, shapeand overall impression of a new designcan be superseded where colour andsurface pattern become judged as thekey differentiation factors impacting onconsumers.

The Court of Appeal has looked at the waythe luggage was depicted and decided thatsome features looked more important thanothers. This could have gone either way,

but the decision is a clear reminder of theimportance of a good understanding ofyour design.

We always recommend registeringline drawings from the final CAD modelfor our product design clients, if theyare concerned only with form. Linedrawings put everything on the samelevel of importance and the CAD modelmakes it easier to change angles, removesuperfluous parts, and isolate or exaggeratefeatures. The final design should be alreadynailed and hopefully feedback should

indicate the relative importance of thefeatures.In product design it is common sense

that all features are viewed in the context ofthe overall design, commercial factors andthe wider field. So if features of the designstand out, for instance colours or texture,these features could of course be argued tobe important to the design. This seems tobe what the Court was saying in relation tothe law about how designs are registeredand this would seem to fit with how thingsshould be.

This just reiterates the situation that in

relation to registered design applications itis vital that an accurate and well-consideredrepresentation of the design is filed.

Many commentators have said the practicaltakeaway guidance from the Court ofAppeals decision is that those seekingprotection via a CRD should generally avoid

surfaced 3D representations in their CRDfilings, and instead using wireframes. Thelogic is that if only wireframes are used,then surface markings, colour, etc. areirrelevant in a CRD infringement analysis.Since at least one part of the Court ofAppeals decision focused on the purposefuldifference in the wheel colour chosen byMagmatic, that would have been irrelevantif they had used wireframes.

I am certainly no expert in UK law, northat relating to CRD registrations, but I donot believe that this case represents bad

law, as much as it does a bad set of factsfor the Plaintiff, Magmatic. If Magmatichad submitted wireframes as part oftheir CRD, then PMS would have mostcertainly first claimed that the CRD itselfwas invalid because it wasnt novel orpossess enough individual character towarrant protection the very things thatcolours, surface markings, lettering, etc.can bring to a simplified shape which makeit more unique and protectable as a CRD.It could be argued that many of the designelements were functional, and thereforenot protectable (e.g. cases need wheels, they

have straps, clasps, etc.) particularly ifdepicted as a wireframe.

Ultimately though, if Magmatic hadsubmitted wireframes for its CRD,wouldnt it still have looked like an hornedanimal as opposed to an insect to theCourt?

MAxInE J HoRn ALASTAIR SwAnwIcK ToM KuRKE

cREATIvE BARcoDE,IP PRoTEcTIon

MD, InnovATEPRoDucT DESIgn

MEnToR, THESTARTuP fAcToRy

Does this present an

immediate loophole in the

tenaciously fought and

recently won change to

the IP Bill?

Maxine J Horn

in relation to registered

design applications it is vital

that an accurate and well-

considered representation of

the design is filed

Alastair Swanwick

It could be argued that many

of the design elements were

functional, and therefore not

protectable particularly if

depicted as a wireframe

Tom Kurke

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PROFILE

The Robert Welch

cooks knife in theSignature range

Tanya Weaver takes a trip to the picturesque

Cotswold village of Chipping Campden

where homeware product brand Robert Welch

Designs has resided for over 50 years. Although

steeped in a tradition of silversmithing and

craftsmanship she discovers a sophisticated

design and development process

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Chopping food can be frustratingwork if you dont have a sharp knife.In my kitchen tomatoes mostly endup hacked and squashed ratherthan sliced clean through. So it was

a revelation to use a Robert WelchCooks Knife for the first time recently.Its an absolute pleasure to chopwith and incredibly sharp, evident

by the nicks on my fingers, but also feels comfortableand satisfactorily weighty to hold. It definitely lives up tothe philosophy of its namesake Robert Welch value-for-money design that is innovative, aesthetically pleasing andfunctional.

Robert Welch (1929-2000), MBE and a Royal Designer forIndustry, was an award winning industrial designer whospecialised in stainless steel. He trained as a silversmithat Birmingham School of Art before heading to the RoyalCollege of Art in London. Following his graduation in

1955 he rented a small room in Chipping Campdens OldSilk Mill that contained a bed and a drawing board. Withthe creation of the Alveston cutlery range Robert WelchDesigns was born in 1961.

Over the next 40 years the company grew to take over thetop floor of the Silk Mill producing a wide range of kitchen,dining and homeware products. In 1993 Robert Welch

passed the directorship to his son and daughter, Rupert andAlice, who are still the managing director and marketingdirector respectively.

A Robert Welch retail shop was established in 1969,just a few hundred yards from the Old Silk Mill where the

products are still designed by the in-house design team.In fact, during the past 50 years, over 3,418 individual newproducts have been designed, leading to sales of over 46million around the world.

DESIGN LEGACYWalking round the Robert Welch shop, one of three withthe other two located in Warwick and Bath, you realisejust how vast the range really is. Along the back wall is amuseum dedicated to Robert Welch himself with a rangeof his original product designs on display. There aresome beautifully retro pieces, including tea sets, clocks,candlesticks and even jewellery, some of which still lookas contemporary today as they did originally. Many of

his items are still in production today, its a testament tohis legacy, says Paul deBretton Gordon, head designer atRobert Welch Designs, on my guided tour of the shop.

deBretton Gordon is just one of three designers at thecompany. Although small, they make extensive use oftechnology in the design studio with two CAD packages,SolidWorks and Deskartes, and two 3D printers. The oldest

PROFILE

1 The Old Silk Mill

in Chipping Campden

has been home toRobert Welch Designs

for over 50 years

1

8/10/2019 Develop3D JUN 2014


2 In 1955 Robert Welch set up his

studio in one little room in the Silk Mill

3 Although nine years old, Deskartes

is an ideal tool for designing cutlery

4 Seats of SolidWorks have since beenpurchased through reseller NT CADCAM

When Robert Welch was the only designer at thecompany, before computers or CAD, his line drawingswould be passed to a silversmith whod bring his designs tolife. In his case it was John Limbrey, a craftsman who joinedRobert Welch in his one room studio shortly after he setup. He then worked with Welch for over 40 years producing

models and production drawings.Today a project will similarly begin with sketching but willvery quickly progress into CAD. We get into CAD as soonas we can because obviously CAD is a great time saver. Thatway we can start knocking out 3D prints and prototypesfairly early on, explains deBretton Gordon.

We try to get through the concept phase and intodevelopment phase pretty quickly because the developmentcycle can take quite a while. We also try to speak to ourfactories sooner rather than later.

But take a spoon, which is just one form, how complexcan it be to design? Very, it seems.

Talking about it sounds ridiculous, its just a spoon butthe design is really tricky, says deBretton Gordon. The

top surface is the most difficult and the challenge is for thethree or four surfaces on that top surface to knit togetherinto a solid.

However, cutlery design always starts in the Deskartessoftware package as opposed to SolidWorks. Producedby a Finnish company of the same name, Deskartes is aComputer Aided Industrial Design (CAID) system withcertain features that make it an ideal tool for designingcutlery. Although Robert Welch Designs license has beenin use for almost nine years and can only operate on an oldlaptop, deBretton Gordon explains that this basic packageallows for quick model creation and easy editing.

Once the Deskartes model is complete, it then writes an

IGES file format that can be brought into SolidWorks. Fromthere files are sent to the 3D printer, prototyping bureauor model maker. Following tweaks and refinement to thedesign, files then go to the factory for tooling.

BRIGHT FINISHOne of the key challenges in working in this industry,which is really out of the designers hands, is the brightfinish achieved through polishing the stainless steel.Polishing is a real skill and polishers are the best paid inthe factory. Its actually quite a dangerous process becauseit involves a spinning wheel at really high speed in very hotconditions, comments deBretton Gordon.

Apart from polished stainless steel, the only other colour

in the Robert Welch collection, excluding the childrensrange, is black. This has always been the case and gives therange its timeless and modern aesthetic. deBretton Gordonwas one of the first designers to take over the in-housedesign following Robert Welchs death and was consciousof not taking the company in a different direction.

I wanted to continue in Robert Welchs legacy and keep

is a ZCorp Z510, nicknamed Zelda, which has recentlybeen superseded by an Objet 30 printer.

We bought Zelda eight or nine years ago so its pretty oldtechnology now. We needed something more convenientwith better quality. But with hundreds of different 3Dprinters out there we had to do quite a bit of research.

It was really important that our new 3D printer wasnttoo big, the cost of running it was low and the quality of themodel was high. A secondhand Objet machine came on themarket and we thought it was too good a deal to turn down,says deBretton Gordon.

Happily buzzing away in the corner of the design studiowith no dust or smell, unlike Zelda, the Objet is usedextensively for prototyping design concepts. It doesnt havea huge build area but for what we are using it for, its fittingthe bill, he adds.

SOPHISTICATED DESIGN PROCESSAlthough steeped in a tradition of craftsmanship andsilversmithing, the design process at Robert Welch Designs

is similar to most other companies involved in newproduct development. This is something that amuses PauldeBretton Gordon and his wife Kit, who is senior designerat the company, as some people dont think that cutleryis designed. I remember having to explain to family andfriends what we do as they think we are sat in somethinglike an art class, she laughs.

3

4

Its just aspoon butthe designis reallytricky. The

top surfaceis the mostdifficultand thechallengeis for thethree or foursurfaceson the topsurfaceto knittogetherinto asolid

2

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5 Robert Welch at work. His 1962

Alveston cutlery range was praised as

heralding a new era in cutlery design

6 The Signature range of stainless

steel utensils with its bright finish

7 One of the recently launchedproducts is this Signature Oval Trivet

purchased Zelda, which was used extensively on this projectto prototype handles.

At our design meetings we would have 20 differenthandle shapes testing the feel and comfort. In the earlydays, we also trialled a lot with professional chefs to makesure they didnt get fatigue and the handle was right.

The handle, which is made from a DuPont material, ismoulded precisely onto the full tang. In other words, theknife is forged from one piece of stainless steel that extendsthe full length inside the handle ensuring longevity anddurability.

Not only was the design of each blade a challenge but sowas the choice of steel. Instead of opting for a Japanesesteel, which can be very hard but diffi cult to sharpen, theywent for a German stainless steel, which is less hard buteasier for users to maintain the edge and sharpen.

The knives were tested extensively until the perfect knifehad been reached, which has since been awarded thehighest grade possible by the Craft Guild of Chefs and wonmultiple design awards.

NEW PRODUCTSThe Robert Welch range is extensive and although productsremain in the catalogue for many years, including somelegacy ones that were designed by Robert Welch himself,new products are also added regularly. Currently, thekitchen product range is being boosted with new utensils;the Signature Kitchen Roll Holder, with a design that allowsfor pull and tear in one movement, as well as a SignatureOval Trivet with a stainless steel base and removablesilicone mat on top.

Although the design work keeps him busy, deBrettonGordon also likes to keep on top of new technology that

could help the design process. DEVELOP3D Live in Aprilwas great fun for that as all the relevant companies werein one place and you could literally walk from one space toanother and try them out and see the results. I had a look at3D scanners, which may be useful in future. And althoughwe are happy with our Objet machine, there were someothers there that were interesting and in the future we mayget another and run them concurrently.

Of course, all of this research and future technologyinvestment is to ensure that this small company continuesin its pursuit of excellence. I cant help thinking that RobertWelch would be proud of how his company has progressedwhilst it still maintains his belief that everyone should beable to use beautifully designed pieces in everyday life.

robertwelch.com

From 19 July to 28 September 2014 the Robert Welch:Inspiration and Innovation exhibition will be taking placeat the Court Barn Museum in Chipping Campden. On 19July there will be a one-on-one event Designing for RobertWelch with Alice Welch, managing director, and KitdeBretton Gordon, senior designer. courtbarn.org.uk

the design classic and simple. I have tried to accomplishthat the designs are not overly designed, they are notfussy, fashion driven or trendy.

One of the first projects deBretton Gordon embarked onwhen he started, which has remained a favourite, is themulti-award winning Signature Knife range. There have

been equally good projects since but that one sticks in mymind as being enjoyable but also diffi cult as the learningcurve was so steep, he says.

The company did have a few knife ranges but obviouslythose were designed by Robert Welch himself so this was ajourney that Rupert Welch and I really went on together.

It was also the project where deBretton Gordonintroduced CAD into the company in the form of Deskarteshaving used it at his previous job at Wedgwood. They also

6

I wantedto continuein RobertWelchslegacy

and keepthe designclassic andsimple. Thedesigns arenot overlydesigned,they arenot fussy,fashiondriven ortrendy

7

5

PROFILE

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EVENT REVIEW

Even with the Grid system, it takes time to run vastnumbers of variables through a computer with finite power.This is overcome through a virtual version of the data,which modeFRONTIER creates from the inputted fields,which enables it to run at a much higher speed.

Yan Fu, a technical expert at Ford, explained how a newEnterprise Multi-disciplinary Design Optimisation System(EMDO )is being used at the company, which provides acollaborative and distributed execution platform to managethe complexity of growing demands of large-scale vehicledesign projects.

PERFECT SOLUTIONS?

Optimisation is just as much about making informedchoices and trade-offs as it is about reaching perfection.

Rarely in the real world is there a truly perfect design forinstance, optimising the weight of a design to save moneyon materials could backfire if it demands a more complexand expensive manufacturing process.

As the complexity of product designincreases, so do the number of toolsused in the design process, yet thetime-to-market is ever decreasing.Against this background themodeFRONTIER user meetingin Trieste, Italy, organised by theItalian provider of this tool Esteco,set out to show the vast array of

different industries using its tool to optimise designs and

using it as a means of presenting design choices, quickly.Mastering complexity was the tagline of the event, andgiven the multifarious calculations being tamed by Estecossoftware, it proved apt.

TOOLS OF THE TRADE

modeFRONTIER is Estecos collaborative environment toolfor large dataset Computer Aided Engineering (CAE).

Open to accepting data from almost all mainstream CAD,simulation and analysis software, it is used in projects asdiverse as urban towers and domestic washing machines.

It allows an engineer, for example, to pull in a CAD modelfrom Catia, CFD analysis from Ansys, a set of calculationsfrom MathCAD and an Excel spread sheet of bill of

materials.The user defines the various parameters, the limits they

can operate within and the goals that need to be achievedwith the optimised design. The system (along with therequired computational power) will then provide a curve ofpoints representing the range of optimised designs.

modeFRONTIER sets out to corral the complex varietyof possibilities from the available engineering data andvisually packages the results giving engineers a graph ofprecise data, while keeping it simple enough for boardroomdecision makers to understand and use.

To make it available to project collaborators it has a secureweb-based platform, Somo, which also helps with two bigissues for such a tool computational power and softwarelicenses.

Somos Grid system provides the user with a networkof workstations for processing power, but still runsthe controlling software from its native load computer,eliminating the need for a sole workstation to be loadedwith every tool thats used.

BRINGING CAE T

THE BOARD RO Esteco is looking to changethe design landscape throughmulti-physics optimisation.

Stephen Holmesreports

from the companys user

meeting in Trieste

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modeFRONTIERInternational Users

Meeting 2014, which

took place duringMay in Trieste, Italy

A round-table discussion by the automotive sectorformed one of the events highlights, with speakers fromJaguar Landrover (JLR), Ford and Volvo all explaininghow modeFRONTIER is used now, and how they expect itsrole to evolve.

Currently problems include the late manufacture of avehicle, which can cost 2million each day of the delay.However, this can be resolved using optimisation.

Decision-making in such situations needs to be as fastas possible and the ability to speedily re-calculate optionsusing virtual optimisation can prevent huge losses.

More standard stages of design benefit from optimisationdirectly. As a representative from JLR explained, thecompany managed to lose 400kg of aluminium from thechassis of its latest SUV by combining CAD models andvarious simulation and analysis data.

Yet optimisation is gradually moving from being simplya problem-solving tool to influencing the initial designconcepts.

Nowadays, engineers are not trying to solve one problemat a time. Tools such as modeFRONTIER enable severalconcepts to run in parallel, which allows teams to make theright design earlier.

By weeding out flawed designs earlier, by the time adesign reaches physical prototyping less needs to be builtfor testing.

The earlier that optimisation is introduced into theworkflow, the more useful it can be, and those who controldesign and manufacture are beginning to appreciate thebenefits.

As one attendee explained, it has meant that, for the firsttime, the boardroom of his company had understood theexpanded benefits of simulation tools.

In a complex world of algorithms and engineeringdata, its easy to see why having a tool to simply guide thedecision process is beginning to bring CAE to the attentionof company heads.esteco.com

O

M

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PROFILE

We employ incredible expertise and facilities aroundthe world and bring these together in supply chaincombinations that suit each project for necessary quality,quantity, speed and cost. From consumer electronics to jet

engines, its not what we do, its how we do it.

GAME IS ONIt all started with Robot Wars. At age ten, Valman was ahuge fan of this British television game show. Broadcastfrom 1998 to 2003, par ticipants robots would fight itout against each other in an arena. Too young to enter,Valman chose to compete in the shows engineeringcompetition with its robot weight restriction of less than150g. He taught himself how to use Google SketchUpand constructed his creations using hand tools, includingthe CNC machine and lathes in his schools Design &Technology Department.

I was designing some pretty crazy stuff such as a fullpressure pneumatic system with an arm that fires open. Itwas pretty dangerous, smiles Valman.

But seeing that everyone else in the competition wasgetting their components professionally made, he decidedthat he wanted to do the same. So, I Googled factory.All the UK factories were far too expensive for my budget;

Just a short walk from LondonsWestminster tube station, in a fairly quietopen plan office in Millbank Tower isRPD International. Looking around you

wouldnt guess that this company hasgrown 50 per cent month on month sinceits launch in January 2014, employs 46people and is on track to achieving a sevenfigure turnover this financial year. You

certainly wouldnt guess that the man at the helm is 19-year-old Josh Valman.

Valmans CV, with its four job roles MD of RPDInternational, MD of Miproto, owner of WeSellTubes.comand freelance product design engineer reads like that ofsomeone at least ten years older. However, what gives it awayis his schooling: Vyners School in Ickenham, West London,2006 2013. He only completed his A levels last year!

But what exactly does his company do? Valman explainsit simply as RPD powers design and manufacturingdepartments for companies. Basically he has built aglobal supply chain that consists of specialist factories andcontractors to handle everything in a product developmentproject from conception, to prototyping, to massproduction to delivery. It can handle all or just a small part.

BRIGHTYOUNGTHING

London teenager Josh Valman is on a mission to change the way productdesign, engineering and manufacturing works around the world.

Tanya Weaver meets with this young entrepreneur to discover how he

became the CEO of the supply chain company RPD International

8/10/2019 Develop3D JUN 2014


We employ incredible

expertise and facilities

around the world and

bring these together in

supply chain combinationsJosh Valman

SATURDAY JOBValman also decided to get a normal (well, normal for ateenager) job working Saturdays in his local bicycle retailshop. By his own admission, he was painfully shy and

thought that being forced to speak to the general publicwould help his communication skills. He also learnt aboutbusiness and for 11 months operated weselltubes.com, anonline retailer of inner tubes.

Ever the entrepreneur, hed also decided, as his freelancework was going so well, to set up a web based productdesign, development and prototyping platform. Hedrealised that his success was due to his being accessibleand so decided to launch Miproto with the aim of makingproduct design and manufacturing accessible to everybody.Anybody can upload a design, pay their fee and have itmade, he explains.

Valman eventually managed to get some investorsonboard but admits that most were weary of risking moneyon a kid. It took me a while to prove my worth to people.But I ended up flying out to Gibraltar just before my A levelsstarted. I closed my first investor and wrote my courseworkon the flight home.

But since then Valman has been very selective in theinvestors hes chosen. Its not about the money, but

nobody seems to think of the budgets of 15 year olds.But I had heard about Chinese factories so I Googled

that. I found one and thought to myself what could gowrong? Its just on the other side of the world, it just means

waiting a bit longer.However, the bank would not allow him to send his pocket

money to a factory in China that he found on the internet.Neither would his parents for that matter. So, unbeknownto them, he set up a PayPal account and sent every penny hehad 500 to be exact that way.

About two weeks later the DHL package arrived andinside were the billet aluminium components that hadbeen CNC machined to within 0.1mm tolerance. He wasvery chuffed and when he took his robot to the Robot WarsWorld Series event, others were impressed too. So muchso that requests started coming in for him to producetheir robot components, which soon scaled up to othercomponents. At 15 his career as a freelance product designand manufacturing consultant had begun.

Lots of people doing this Robot Wars stuff were high upfigure heads in large multinational companies so by doingsmall bits of work for them theyd tell others. The workkept coming in to the point where I was earning 10,000 aweek, he comments.

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I ended up flying out to

Gibraltar just before myA levels started. I closed myfirst investor and wrote my

coursework on the flight home

1

2

1 The Robot Wars robot Valman

created in SketchUp when he was 15

2 RPD International created 550 small

foam cows for client Taxi Studio

3 Various prototypes of a key fob for a

British supercar manufacturer

PROFILE

more about what they can offer in terms of skills andconnections. Some people I would take 5,000 off but itsnot because its 5,000, its because this guy is the directorof this company who can connect me to that company whocan in turn connect me to this other company.

Valman did manage to pass his A levels but his markswerent sufficient to get him into any of the engineeringcourses he applied for. Ironically, he now teaches at one ofthese universities. I didnt get into Imperial College andnow I teach at their Entrepreneurship Club so I dont feelso bad.

NEW YEAR, NEW BUSINESSMeanwhile Miproto was doing well but wasnt makingmuch money. With his entrepreneur head on he gotthinking and realised that companies, both large and small,rather than individuals were using this service. So, usingthe same global supply chain, in January 2014 he launchedRPD International a corporate platform that powersdesign and manufacturing for companies.

We handle everything, from concept through tomanufacture and delivery. We operate this global supplychain of talent in design, engineering and manufacturing.By connecting all of these incredibly powerful resources, weare able to think differently about both design and process.

explains Valman.Companies can use it for the entire product developmentprocess or, like some larger engineering firms have done,dip into a certain part of the process whether its helpwith an R&D project, getting a design prototyped or formanufacturing assistance. People pay an amount eachmonth which is a deposit to retain our services. So its up tous to guarantee that we have the resources in-house readywhen they call and say help, says Valman.

In a bid to build his supplier and contractor list, he hasjetted out to factories all over the world and talked to variousdesigners and engineers who he employs on a freelancebasis when needed. The idea is to link up the right personwith the right project and then find the best manufacturer

to deliver. This is more often than not a manufacturer localto the client where there is not a great deal of shippinginvolved because according to Valman, time is worth somuch more than money. Thats the future.

So far RPD has worked with a range of clients includingcreative agencies such as London-based Taxi Studio, whichas part of a national campaign for its client plasterboardproducer Siniat asked for 550 small foam bulls to be madeand delivered.

Another was a British supercar manufacturer who taskedRPD with designing its key fob asking: How can ourcustomers feel the beauty of our engine, without opening

the bonnet every day?. With a reasonable budget, Valmancombined three minds: an American artist, Italian fashiondesigner and a Scandinavian industrial designer. Theconcepts were then refined by a London industrial designer,who embodied the V8 engine into the key fob itself. Thiswas followed by various rounds of prototyping (includingthe internal PCB), tooling, batch manufacture of 5,000,assembly, packaging and delivery.

Back in his office, Valman has employed people to workwith the British Standards Institution (BSI) to certifyRPDs processes and facilities the boring side of business,according to him, whilst he gets very little sleep jettingoff all over the place hunting out suppliers and spreading

the word of what RPD does. He is constantly visitingconferences, like DEVELOP3D Live in April, and haseven organised one himself in Aarhus, Denmark, at thebeginning of June and will be speaking at a few, includingthe Design Chain Conference, later this year.

He uses social media for all its worth especially locatingdesigners and engineers to work for him. He has ceaselessenergy and drive to grow his business but does seem a bitsurprised when he admits that it just works.

He also still finds time to design having bought seats ofSolidWorks through reseller Innova. I cant log in as asenior engineer, however, because I dont have a degree. So,the CEO is a junior engineer, he laughs.rpdintl.com

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PROFILE

1 The JaguarXKR-S GT coupe,

on which the frontsteering knuckles

are machined on

Hurco machiningcentres at Coventrysubcontractor, Philip

James

2 A front knuckle forJLR, after all 3-axis

metalcutting hasbeen completed on

the Hurco VM20i

component alignment prior to boring. One-hit machiningon the Hurco also allows Philip James to swap betweenproducing the two hands more quickly. This is important,as JLR often cannot wait for a full batch of, say, 20 left-hand and the same number of right-hand knuckles to bedelivered in one consignment. Faster changeovers increaseproductivity by minimising spindle idle time.

The Hurco VMX42SR is the first 5-axis machining centreat Philip James, which Whitehouse asked Hurco to modifyso that the B-axis head can be tilted past horizontal to allowcutter access for all JLR knuckle bores to be interpolated in

one hit.The required negative angle was 8 degrees. Hurcoengineers removed the limit switch on the head, allowingit to tilt up to 20 degrees. So other features like undercutfaces can also be machined without repositioning thepart on an angle plate, again saving time and improvingaccuracy.

The modification means that the head guardingcomes close to the table and especially near to a lasertool measuring device. To avoid any chance of collision,the subcontractor used Work NC computer aidedmanufacturing (CAM) software from Sescoi to programthe machining cycle and check for interference.

Although the knuckle application requires 3+2 axis

machining, the VMX42SR is capable of full 5-axis cycles.Whitehouse is hopeful that it will attract additional workfrom the aerospace and motorsport sectors and alsopointed out that it will reduce the need to use expensiveform cutters.hurco.co.uk

philip-james.co.uk

Jaguar Land Rover (JLR) is one of PhilipJames biggest clients. This Coventry-based subcontracter machines prototypesuspension, chassis and steeringcomponents for practically every makeof Jaguar, Range Rover and Land Rover,including the limited edition Jaguar XKR-SGT, which was launched in October 2013.For this 135,000, five-litre, V8 coupe,

Philip James produced the front steering knuckles.Knuckles in particular require intensive milling. They

start as a solid round aluminium billet that is typicallyreduced from 94kg to less than 6kg when the part isfully machined. For subsequent volume production, thecomponents are produced from aluminium forgings unless it is for a small run of cars like the XKR-S GT.

Philip Whitehouse, managing director of Philip James,states, One of the front knuckles for JLR was provingproblematic to machine.

While most of the milling and drilling could be carriedout on one of our 3-axis Hurcos, the component then hadto be transferred to a CNC jig borer for five holes to beinterpolated at three different angles and therefore inthree set-ups.

We decided to buy a Hurco VMX42SR 5-axis machining

centre to interpolate all the holes to within 10 microns inone automatic, 20-minute cycle, much faster than the twoand a half hours it used to take on the jig borer.

FASTER CHANGEOVERS

Apart from decreasing the cycle time, the new 5-axisprocess eliminates the need to use a tooling hole for

KNUCKLEDOWN How the capabilities of 5-axis machining are benefiting

two companies working in the automotive industry

Freeform Technology, aCNC machine shop based inthe UKs motorsport valleyin Buckingham, supplies a

range of F1 teams includingRed Bull Racing, Lotus,Mercedes GP, Williams,McLaren and Marussia.

The latest 5-axis machiningcentre to be installed atFreeform Technologys6,000 sq ft facility is a

DMU65 monoBLOCK 5-axisuniversal machining centrefrom DMG MORI. ThisGerman-built machine

was bought specicallyfor its ability to tackle anymaterial including thetoughest of alloys.

In addition to machiningtooling block, aluminiummould tools can now beproduced, allowing the

subcontractor to widen itscustomer base.

We have already produced

front and rear bumperpatterns for the Nissan RMLJuke-R and the BMW WRCMini. We see automotiveas a growth area for us,as more and more CFRP[Carbon-bre-reinforcedpolymer] parts are beingincorporated into road

cars, or at least offered asoptions, says Fred Hutton,Freeform Technologysco-founder.

We also intend to offermould and pattern makingservices to companiesin the aerospace supplychain, he adds.

dmgmori.comfreeformtechnology.co.uk

RIGHTFORMULA

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