This model is one of the collection Prêt à Faire: Printable Readymade Models
Of this work, Duchamp said, “I thought it would be a good idea to introduce softness in the Readymade…” and thus Traveler's Folding Item came to be in 1916. It was such an ephemeral artwork that not even a photo of the original exists. We only know it from later replicas, which also became the basis for this model.
Find out more about this work at:
 Stockholm |  Centre Pompidou |  Box in a Valise |
The model differs from these replicas in several respects because it poses numerous challenges when optimizing for multi-material FDM 3D printing. It is created at the full size of the original and must be scaled to print as noted below.
Other artists have interpreted the work, including Pierre Bismuth's consumerist critique, Greg Allen's take on authoritarianism, and Anja Bohnhof's reflection on time and memory.
 Pierre Bismuth, Gucci Traveler's Folding Item, 2012 |  Greg Allen, Protestor's Folding Item, 2014 |  Anja Bohnhof, Dans la nuit de temps, 2023 |
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Like Duchamp, I concluded that this model provided a great opportunity to “introduce softness” to the Prêt à Faire works. I thus designed the model for TPU or FLEX filament, but for those who don't wish to print in this manner, a “hard-shell” version is also available for PLA or PETG. There are two versions of the work available to print:
underwood_hardshell: Appropriate for PLA or PETG multi-material printing between 40% and 67% scale depending on your machine size. I don't recommend smaller scales.
A flat, foldable version of the work appropriate for flex material like TPU on a multimaterial printer, designed for printing in two different scale ranges:
underwood_25: As the name implies, it can be printed at scales ranging from 25% to 33.3% of the original on a Prusa XL.
underwood_50: The 2 side flaps have been separated from the main body, for a total of 3 files that can be printed at a range of scales up to 50% on the XL in TPU. For those who wish to print on an MK3/4 with MMU, it can be scaled to 25%, but see notes below.
In addition to these variations, there is underwood_stand, a model for a stand to print at the same scale as any of the above in PLA or PETG. Supports are required.
Important tips for these variations:
underwood_hardshell: No supports are needed if you print it upside down. When scaling in the slicer, confirm that at least 3 perimeters are printing. Print either with 3 perimeters or 100% infill to stabilize vertical walls and optimize the multiprinted lettering.
underwood_25 and underwood_50: Print with logo side DOWN. As seen in the images, the best results are obtained using a textured build plate. It is challenging to print TPU unless your circumstances are perfect (a well-tuned machine, dehydrated fresh filament, controlled climate, the cleanest possible build plate, etc.):
I use ONE perimeter and otherwise let the infill layers do the work.
Letterforms are tricky to select to achieve multiple layers of the lighter color material for the logo. This is critical for quality, since only a single layer of lighter material will be created otherwise, and that looks terrible. Basically: select the face of the letter, then zoom WAY in so you can see the side face of the letter and select that.
Printing with 6 layers for the flat areas of the front, top, or sides (that is, not calculating for the raised hem or the thinner flaps) achieves a good compromise between structural integrity and the desired “soft” feel of the work. You need to NON-UNIFORMLY SCALE the Z to achieve this. For example, using the 25 file, I noted a non-uniform z scale of 40% gave me 6 layers: 2 for the bottom holding the letterforms, 2 with the bridges at the folds, and 2 for the inside structure.
underwood_stand: Orient this on the build plate sideways, with the long face on the plate.
Recommended material:
Prusament Jet Black PLA for the hardshell and/or stand
Elegoo Brown PLA for the hardshell lettering is a good match for the faded “gold” color
SUNLU Black TPU for the main body of the soft version
Overture Brown TPU for soft version lettering: I'm not a big fan of Overture, but this color is the best match in TPU
My settings for the stand:
Print Settings: 0.2mm Structural
Filament: Prusament PLA
Printer: As appropriate for scale (see above)
Supports: Everywhere
Infill: 15%
Brim: None
Advanced settings:
Layers and perimeters: All defaults
Infill: Gyroid fill pattern, Aligned Rectangular top and bottom fill pattern, set to 0 degrees
Support material: Snug
My settings for the hardshell version:
Print Settings: 0.15mm Structural
Filament: Prusament PLA
Printer: As appropriate for scale (see above)
Supports: None
Infill: 100%
Brim: None
Advanced settings:
Layers and perimeters: 1 Perimeter
Infill: Rectangular fill pattern, Aligned Rectangular top and bottom fill pattern, set to 0 degrees
My settings for the soft version:
Print Settings: 0.15mm Structural
Filament: Generic FLEX
Printer: As appropriate for scale (see above)
Supports: None
Infill: 100%
Brim: None
Advanced settings:
Layers and perimeters: 1 Perimeter
Infill: Rectangular fill pattern, Aligned Rectangular top and bottom fill pattern, set to 0 degrees
Stats for a 50% size hardshell print:
Total material used: ~350 grams black, 4 grams brown
Total time: ~18 hours
Total number of build plates: 2
Stats for a 50% size soft print:
Total material used: ~126 grams black PLA, ~146 grams black TPU, ~2 grams brown TPU
Total time: ~11 hours 15 minutes
Total number of build plates: 3
If using the hardshell model, simply place it on the stand. No glue or assembly needed.
For any TPU versions, you'll need to fold the appropriate flaps inside the main body of the work and attach them with adhesive.
There is no excellent easy way to adhere TPU:
PVC adhesive is said to work, but it's cancerous and hard to work with the necessary precision.
I have successfully experimented with industrial-strength 3M Adhesive Transfer Tape. However, I can't vouch for long-term durability. I have one at 25% that has stayed together for over a month, and one at 50% that has survived 2 weeks as of this writing.
Before using the transfer tape, I folded the flaps over and weighed them down to “train” the fold. TPU has a terrific memory, which can be a blessing, but a bit of a curse in this case. I did manage to get a fold to hold after a few days of training.
The TPU is a very experimental model, not for the faint of heart. Use it at your own risk.
From Seekamp at Tout Fait:
Joselit explains, "This item, which Duchamp identifies with a feminine skirt, should be exhibited on a stand high enough to induce the onlooker to bend and see what is hidden by the cover" (90). In this way, this Readymade acts as an invitation to voyeurism. There is of course nothing actually underneath the skirt; the viewer's imagination must complete the artwork. As Duchamp always believed, "The onlookers are the ones who make the picture" (Moffitt 233)
This suggests you should place the stand on a table or pedestal high enough that the audience can attempt to peek under the cover.
14 DEC: Included artist precedents in the description. Added an exploded isometric to aid with assembly. Added a pre-painted multi-material 3MF file.
22 NOV: Re-wrote the description for clarity and consistent formatting across the Prêt à Faire collection.
6 OCT: There are now photos of two print prototypes: the TPU at 25% is represented by the cover and two additional views in the images, and the PLA version is prototyped at 50% and shown in two views.
5 OCT: I have added a pair of flat TPU versions that are printed flat and folded together by adhering the flaps to the inside of the work. I updated the description above to reflect these additions.
The author marked this model as their own original creation.
