With Christmas just passed and Valentine's Day on its way, it's during these winter months that we give the most gifts to family, friends and loved ones.

One member of our team received an interesting self-help book designed to increase one's ability to master complicated tasks by consciously changing the way in which we think. The content of the book was all quite complicated even for our expert scientists, but it did spark a conversation about something called Positive Imaginative Restriction which appeared in one of the book's passages. Positive Imaginative Restriction relates to controlling the imaginative thought process so as to be able to approach tasks in a manner which instinctively focuses on the achievable elements and automatically blocks the consideration of anything unachievable. Incidentally, this kind of thought process plays an important part in designing suitable models for 3D chocolate printing. So what does Positive Imaginative Restriction mean in terms of the way in which we think?

Put simply, Positive Imaginative Restriction is the concept of training one's mind to start the imaginative process at the simplest possible point and increase the complexity of the idea in gentle steps, rather than starting at a point where one's imagination is already running wild and overcomplicating itself. This concept is particularly applicable to both new 3D chocolate designers and their clients, neither of whom may have a great deal of experience when it comes to the possibilities and limitations of printing in chocolate.

The example of Positive Imaginative Restriction given in the aforementioned self-help book featured a group of people (the test subjects) drawing out a maze/labyrinth. When asked to draw a maze/labyrinth, no matter how simple the final result would be, the test subjects instinctively responded by aiming to sketch what they deemed a maze/labyrinth to be - a highly complicated layout of linework with multiple confusing routes and a single successful path. As you may have expected, the majority of the results were flawed and impossible to navigate, as the test subjects had aimed to depict what their mind had envisioned as the 'gut reaction' to the term 'maze/labyrinth'. However, a small number of the subjects started with a very simple direct route, and then slowly added a false route, then another, and so on. The experiment demonstrated that a small number of people in the randomly chosen group displayed a greater control over their imaginative thinking, consciously or subconsciously aware of the necessity to start a complicated task (the drawing of a maze/labyrinth) in its simplest possible form. Still confused? Well, so were we until we described it to each other in a way more relevant to the work we do.

To provide you with our example; When one's mind is unconditioned to think in a restrictive (yet still positive) imaginative capacity, the mention of the word [example] "bicycle" may instantly conjure thoughts of the type of detailed frame and spokework used to construct an ultra-slim racing bicycle - a structure that is unsurprisingly a challenge to translate effectively into a miniature chocolate sculpture. When practicing Positive Imaginative Restriction as a 3D chocolate designer, the mind's initial reaction to the term "bicycle" would most likely be to print a 2D chocolate drawing, analyzing the possibilities of 2D-relief before carrying the thought process towards a 2.75D construction of the frame, wheels, handlebars, etc. Finally, the designer may attempt a true/direct 3D print, which may prove no more satisfactory than the 2D or 2.75D construction. Starting at the most complex point and working backwards to simplify an idea often has a negative psychological effect on both the designer and client, with a sense of losing details and compromising heavily, rather than gaining details and pushing a design to the limits of the technology.

Positive Imaginative Restriction is the conditioning of the human brain to automatically consider set restrictions and limitations while still maintaining a high level of creativity by adding details and complexities to ideas and concepts in a gradual process - Why not try the maze/labyrinth test? Novice 3D chocolate designers following this process will find they spend far less time rendering designs only to find they simply cannot be printed.

The realm of chocolate printing exists between the worlds of 3D printing (aka Additive Layer Manufacturing) and chocolatiering - two very different disciplines that are equally important for users of our technology to understand.

It is therefore necessary for any user, regardless of their background, to approach chocolate printing with the understanding that they may need to acquire some new skills in order to reap the full benefits from our Choc Creator technology.

Whether it's the need to learn simple 2D/3D modeling or take a night class in chocolate-making, the more users of our technology understand about both disciplines, the more they will understand the possibilities, limitations, reasons for certain aspects of our methodology, and perhaps most importantly, the more confident they will become in this new form of chocolate artistry.

Despite our literature focusing heavily on the importance of familiarizing oneself with chocolate, there is still a tendency for 3D plastic aficionados to overlook the importance of preparing well-tempered chocolate, reasoning that plastic is simply being replaced with chocolate, when in fact chocolate behaves very differently from plastic or indeed any other material. Likewise, there are still some chocolatiers who steer themselves away from our technology, as they assume they will need to hire the services of PIXAR to create their 3D models and ask NASA to program their G-codes. Although not every chocolatier chooses to take on the 3D challenge, we've seen many chocolatiers surprise themselves when attempting to create their own designs, realizing that the process is certainly a challenge but not impossible - It requires time, motivation and dedication.

One thing that both the disciplines of 3D printing and chocolatiering have in common is the artistic element. Whether the subject is a digital 3D object or a chocolate sculpture made entirely by hand, the importance placed on aesthetics related to shapes, textures and colors is a shared value by members of both communities. In fact, at 3D printing trade shows and chocolate events, we rarely meet anyone we wouldn't consider an artist of some description. It therefore seems to be the overt complexity of some of the modeling software available that still deters a small number of chocolatiers from venturing into 3D printing, with the need to prepare chocolate still intimidating some 3D modelers who are too used to pre-made plastic filaments. We encourage people who have yet to embrace our technology for these reasons to 'play around' with free modelling software or to try 'hand tempering' some chocolate at home to see just how easy (or indeed difficult) these processes actually are - We find that many users surprise themselves, and those who don't at least feel happy to have tried rather than just dismiss the idea of 3D chocolate printing completely.

The most successful users are those who are dedicated to learning and also able to "unlearn", as there are still some misconceptions about chocolate printing. For example: Many 3D modelers have "learned" specific points regarding structure and construction which tells them they couldn't print a 3D model using liquid chocolate without supports or a cooling system, yet it's something the Choc Edge team has achieved.

For novices, our apps have proven to be excellent tools for introducing the STL to G-code conversion process. Once the process is understood and users have acquired some printing practice, they very quickly take the next step towards creating designs from their own imagination, as oppose to using designs from our library. Despite the amazing response we've had to all our designs over the years, our library is largely considered a stepping stone, and it's the possibility of creating something truly unique all by oneself that has always excited our users. The growing need for 3D printed work outside the immediate community is something that the major software players are well aware of, and the amazing Autodesk team have recently announced that they are consolidating much of their software to make it easier for newcomers of any age and background to download just a single piece of software and get involved.

The acquisition and honing of new skills does, of course, take time, effort, motivation, and often a reliance on others who know the methods and processes well enough to effectively educate others. The key to our success in merging technology with chocolate has been working with the world's most dual-skilled engineers, technicians and designers who are equally versed in the science and workings of chocolate. Again, it is the artistic element that has bridged all these disciplines, enabling us to hold 1-to-1 training with users who may already be familiar with 3D printing, chocolate, or perhaps have no knowledge at all of either. A new chocolate printing language has also grown out of our interaction with users, which is a fusion of 3D printing terminology, art & design lingo, and traditional chocolatiering vernacular.

By standing on a common ground and sharing our knowledge, we're proud to say we've been able to help a variety of companies and individuals join the 3D food printing revolution.

Any chocolatiers who are interested and want to know more about the design-to-print process can download our extended FAQ known as the 3D Chocolate Printing Guide.