The exploration of the project was based on 3 ingredients and the trip they could give me, to use them as different types of biofabrication since they can be used as a base in many products, product design, fashion design, interior design and cosmetics.

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Thinking about the improvements that I want to achieve and the first thing I wanted to improve is the processing time of the biomass and that I do not have to dehydrate it to conserve it since large amounts of electricity and time are used. And I have devised a way that is to cook the carrot with water, then I liquefy it all together and so I can have it in the fridge, but at that moment I put a preservative that is used in the natural cosmetics industry and That helps it to last much longer in storage and then the chances of mold growing are much lower.


A way that helps you have some pigments to take biomanufacturing to another level. 1. Use some plant/vegetable or fruit waste as a Biomass. 2. Use a grater to open the molecules of the plant and that way more liquid will come out that will transform into pigment. 3. Short-Time Boil the grated carrot in water. Then strain the carrot and reserve the water to biofabricate and make more products since it has many properties. 4. Use a strainer with a cloth to squeeze as much as possible and separate the liquid from the mass. 5. The resulting liquid is ready to use, it does not oxidize. 6. The resulting biomass can now be dried, you can put it in the oven for 6 hours or place it in a dehydrator. 7. The dehydrated biomass is placed in a mortar and ground until it is a fine powder.


1. To extract the pigment from the leaves is already a little more complicated since it is easy for it to oxidize and darken. 2. The dehydrated biomass is placed in a mortar and ground until it is a fine powder. 3. Cut the leaves very small including the stems as well. 4. You can use a mortar or parchment paper and a roller to break the molecule of the leaves and be able to extract the liquid. 5. Use a strainer with a cloth to squeeze as much as possible and separate the liquid from the mass. 6. Usage of alternative solvents is preferential for extraction and concentration (acetone, DMF) 7. Application of detergents (soap) and hypertonic solutions (more saline than cell cytoplasm) to maximise cell lysis (disruption)


To create the modules, I first have to make sheets of matter big enough to have enough material to laser cut but manageable enough to be able to move and use them. So I thought of some 50 cm by 70 cm sheets of acetate since acetate is a fairly cheap and completely reusable mold and the biomaterial acquires its brightest texture and is very easy to unmold.


1.To make the molds you will need: -2mm thick acetate -Ruler -Cutter -Adhesive tapeter. 2. Make a 2cm guide and pass the cutter without reaching the bottom, just to create a trench and be able to fold the acetate in the opposite direction. 3. Then cut 2cm x 2cm squares at the ends of each corner, reserve them for later. 4. Use the adhesive tape, preferably transparent because that way you can see inside the mold. Glue the corner joints and reinforce all the sides where the acetate has been folded. 5. Acetate costs around €1.50 (year 2022) so it is a fairly cheap and easily reproducible shape. To have large plates of bioplastics since the acetate prevents it from deforming when it dries. 6. To calculate the amount of liquid that a mold can contain, I use this formula: 3 Volume= length x width x hight = Side 7. For example, for the Bioplastic that I later want to cut with a laser, the best is 3 mm thick since it reduces 30% later. That’s why I make the formula: 3 Volume= 70 x 50 x 0.3 = 1050 cm Which means that I will need 1.050Liters

1. After the phytoremediation process, we find a whitish mixture, to add color there are several options. 2. You can add carrots that have not gone through this process and cook them until they are soft and pass them through the blender, with the water that you have cooked them. 3. You can add food coloring. It is an easy way to get very bright colors and helps prevent mold from appearing. 4. You can add pigment powder that is the result of the dehydration of the pigments.


1. Put the biomass in a pot over medium heat 2. Then immediately after pour the glycerin and you are stirring them during that medium fire 3. In the next step, raise the heat to medium high and pour the gelatin little by little, even if you get lumps, the heat will help you eliminate them. 4. Then immediately after pour the glycerin and you are stirring them during that medium fire. Stir continuously until the gelatin has completely dissolved and has a liquid but full-bodied texture like that of juice. 5. Probably the mold deforms a little with the heat, so it is best to move continuously until it begins to solidify 6. When you pour the mixture into the mold I recommend that you do not make it too hot, but rather have it on the lowest heat for a while. 7. There is a possibility that putting it on will create bubbles. remove them to have a surface as smooth as possible. 8.To stabilize the ends of the mold that can be deformed by the heat, what I have found best is to put adhesive tape so that it reaches all sides evenly. 9.Let it dry for 72 to 100 hours, depending on the thickness of the bioplastic.

1. To eliminate the bubbles you can use the fire so they all go away and there is a fairly stabilized and smooth surface. 2. If fungi grows, don’t panic, with alcohol you can stop the growthe of the fungi, you can also use those fungi since it looks like a print. They are also pretty in their own way. 3. One of the most important things is the stability and uniformity of the table. 4. Use adhesive tape to fix it to the table 5. I use a leveler and also the leftovers of the molds so that I can raise parts of the mold and thus have the greatest uniformity, since even having the table level, the heat makes it uneven. 6. I know it’s very tempting, but don’t touch the bioplastic until it’s completely dry that way it doesn’t lose its shape and we don’t inject bacteria from our hands.


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3 ingredients 40 experiments (41)
3 ingredients 40 experiments (41)

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Relief printing is a family of printing methods where a printing block, plate or matrix- which has had ink applied to its non-recessed surface- is brought into contact with paper. The non-recessed surface will leave ink on the paper, whereas the recessed areas will not. A printing press may not be needed, as the back of the paper can be rubbed or pressed by hand with a simple tool such as a brayer or roller. In contrast, in intaglio printing, the recessed areas are printed.


You will need a leather roller, Novavit® BCS BIO INTENSIVE is a modern series of highly pigmented basic colors for sheetfed offset. It is based on renewable raw materials and is semi-fresh., printing sponges. We have discovered that the fourth day is the best time to print, but when it is not possible to do so at that time, it can be moistened and gently sponged with water. With the roller perfectly impregnated with ink, you pass it over the way of engraving first horizontally and then in the other direction. To check that the entire surface is well impregnated, it is good to use a beam of light, we have used the mobile flashlight but you can use any lamp. After we have the engraving ready we put it in position on the etching press. We position the biomaterial on top of the engraving Before passing it through the press, it is important to check the pressure of the press as it can damage the biomaterial and the engraved wood. But after that check everything is ready to go through the press and develop the lithograph.


To give a new use to the mold where I made the silicone figures, I thought that I could add texture to the bioplastic, also as both repel the ink a little, they could give me different shapes and give richness to the print. You will need a rubber roller, Novavit® BCS BIO INTENSIVE is a modern series of highly pigmented basic colors for sheetfed offset. We add a transparent base to camouflage with the bioplatic. To add the ink to the glass slab or smooth stone, pick up a small amount with a brayer and beging to roll out. Continue to add ink and roll out in small quantities. when the ink is roller out, the surface is smooth and velvery, and the ink makes a “tacky” sound, it is readyto transfer. this is the same process as the previous one, what changes is the matrix, so it is to place the matrix in its place, then use the registration marks to place the image well positioned, and then put a 200 micron acetate to protect the felt. One very important thing that we have to take into account in order not to damage the matrix or the bioplastic is to have the pressure of the press correctly measured. When you have checked everything you have put the felt and you can pass it through the press. Very interesting the forms that helped it to form, because the greasy inks were repelled with the materials.


My skills as a graphic designer have helped me to experiment in this field since I have been in screen printing workshops and I know what I needed to print and what the ink could give me. Going through an experimentation in “In Crescendo” where I started silk-screening the biomaterial with conventional inks and screens with several threads where I wanted to know how long it could give me definition, then when I saw the variety of definition I was already experimenting with the ink and then I was adding bio-inks , to then change the acramine for bioplastic and although there is still a lot of experimentation left to do, I can draw a conclusion and that is that a world with inks without microplastics is possible, inks that we can make at home. In addition, it could have a very important utility in art and advertising since, for example, in events and congresses these inks could be used to screen print and when finished, the fabric could be washed and used as the beginning, thus recycling the materials. I have created a collage of several Ernst Haeckel illustrations to create a photolithograph. To create it, I converted it into a bitmap with a suitable dither for the screens I was going to use. Fill the scoop-coater. Starting from the bottom of the screen on the back, tilt the scoop coater-up with the emoulsion touches the screen. Pull the scoop coater-up with firm pressure to deposit a thin flim of the emulsion oon the screen We have used a ULANO PROCLAIM emulsion preparation whose high resistance to solvents provides superior results with solvent-based or conventional UV inks. Using an insolator for screen printing, which in the lower part has to dry the screens that on some occasion I have also used to dry biomaterials. Transparecies are placed on the glass and the screen is positioned on top. A “blender” cord placed over the screen frame helps create a tight suction. The exposed screen is rinsed in the backlit washout booth. Place the screen on a stable surface, where you can make some registration marks and check that everything is in the place you want. Places the ink on one part of the screen and spreads the ink evenly across the screen. After several attempts we have seen that the impressions should always be made in the roughest part of the biomaterial and in the smoothest and brightest part the image is quite clear and defined. Just because I wanted definition in the stamping I used conventional acramines. But my goal is also to eliminate these inks and to be able to use bioinks also for more defined images. For this silkscreen, I used a 77 thread count. Which gives me an acceptable definition could still give me even more definition. For this silkscreen, I used a 120 thread count. Which gave me great definition and detail. I recommend using this type of screen because it has very good results.


For my second experimentation with screen printing, it has been the implementation of naturally extracted pigments and adding them to a commercially sold organic transparent base that considerably reduces microplastics. The proportions fot the mix was 80% transparent base acramine and 20% dryed carrot pigment We have set up the tables in a classroom to work more efficiently and quickly, because we did not know how these inks would work on the screens, but they dried very slowly, which allowed us to finish all the meters of fabric without washing the screen, which is not enough. frequent and as a tip we already know that at least Biotinta has served as a retardant. Although it is very good that the ink does not dry on the screen quickly, that means that the fabric does not dry either, so it takes 3 weeks to dry, a commercial ink takes about 1 hour to dry. It is not a bad thing but it is something to take into account when working and arranging the space. This is an experimentation where I was able to incorporate Bioplastic as ink for screen printing, on fabric, paper and bioplastic itself. As an important note is that following the recipe that I showed you I was able to create a smooth and concise layer that crossed the screen and could be reflected on any surface. At the moment with this ink you can only use the screen 2 times before washing as it dries almost immediately and clogs the screen. The texture we are looking for is that of Greek yogurt that is creamy and viscous. At the time of cooking the mixture, once you see that everything is united and ready, lower the heat to the minimum possible and continue until it begins to have the texture without cooling. With this ink it is important NOT to refill the ink screen before stamping, but once you add the ink to the screen you stamp directly on the surface. On any surface it works very well, add a very thin layer of bioplastic. This is achieved by using a silkscreen of 43 thread count. To make the ink last a little longer and not clog the screen, you can add a little heat with a hair dryer or heat gun. But so far we have achieved 2 and a half prints.

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