Anyone who has watched a child play with soft semi-liquid materials like honey, frosting, or slime, sees the fascinating interplay between design and physics. Many of us remember these experiences from our own childhood (or maybe not that long ago). These materials dribble and coil as they stack upon themselves when we drop them onto surfaces like cakes from small heights. This ludic behavior represents a physical phenomenon known as rope coiling. Recent research in 3D printing of clay and plastic has started to wonder how rope coiling can be leveraged to create new textures and textile-like structures through non-planar 3D Printing. These provide new tactile experiences in objects like cups and visual experiences in things like lamps. In this demonstrator, we invite researchers and practitioners to return to their childhood and dribble edible materials to understand how to advance additive manufacturing through interactive printing.@en

Tactile experiences are a pivotal part of consumer behavior and choice. However, very little is known about why consumers esthetically appreciate touching products. The principle of Unity-in-Variety, stating that consumers like to perceive variety but only when this variety is presented as a coherent whole, has been shown to partly explain consumers' esthetic appreciation in the visual domain. We theorize that the psychological mechanisms underlying the esthetic principle of Unity-in-Variety are modality-independent, and therefore that this principle also applies to consumers' tactile esthetic appreciation. Across three studies, using existing products and novel 3D printed product designs systematically manipulated along the perceptual dimensions of unity and variety, we show that both unity and variety independently contribute to tactile esthetic appreciation. Furthermore, because unity and variety are inherently partial opposites, esthetic appreciation of products is highest when both unity and variety are simultaneously maximized.

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