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geert_2

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Everything posted by geert_2

  1. De standaardsettings zijn een goed gemiddelde. Maar voor zeer kleine voorwerpen, of als hoge nauwkeurigheid vereist is en je wilt in dunne lagen printen, kan je beter koeler en trager gaan. En omgekeerd: als je zeer snel wil printen in dikke lagen, kan je beter wat warmer gaan. Het is goed om dat in testprints eens uit te proberen, gewoon om inzicht en ervaring te krijgen in wat het precies doet. Maar als de standaard prima voldoet voor jouw modellen, is er inderdaad geen reden om ervan af te wijken. Over SketchUp: hier op het forum zien we de hele tijd modellen voorbij komen die m
  2. Ik zou zeggen: begin met kleine testprintjes, die niet te complex zijn. Blijf bij de printer en kijk nauwkeurig toe terwijl hij bezig is, zodat je een goed idee krijgt hoe alles werkt, en hoe de normale situatie is. Begin vanaf de standaardsettings, die zijn behoorlijk goed. Verhoog en verlaag dan de temperatuur in stapjes van 5°C terwijl de print loopt, via het Tune-menu, om te zien hoe de printer en het materiaal reageren. Print nooit te heet, want dan ontbindt en verbrandt het materiaal in de nozzle. Print ook niet te koud, want dan smelt het niet voldoende, en gaat
  3. Exellent idea. The difference is quality is huge. This is a trick to remember.
  4. Silver and pearl filaments contain particles that reflect light in different directions. It is the orientation of these particles that causes very visible lines. If you use a solid color that is not too high gloss, thus rather satin, and a little bit translucent (but only very slightly), the lines will be less visible. Another option would be to learn to live with this, consider it a normal aspect of 3D-printing. Like sand is rough, metal is shiny, etc... It's the way it is.
  5. Years ago I described my more gentle atomic pull method, but it also had a couple of other tips that I use. The main difference with the standard method, is that mine is much more gentle, less hard on the machine, but with equally good results. Regarding the amount of black residu on this pulled-out piece, it looks like the nozzle needs additional cleaning indeed. See here: https://www.uantwerpen.be/nl/personeel/geert-keteleer/manuals/ After doing an atomic pull, you should be able to see through the nozzle from above.
  6. If you make the baseplate a prism instead of flat, you could print it upside down. But the tip of the cone will always come out poor, due to insufficient cooling, so this will need some post-processing.
  7. When doing an atomic pull, you can often see if that part is deformed: if the edge between nozzle and coupler in the pulled-out filament has a thick blob, it is for sure damaged. In the photos below, the bottom orange one looks pretty good: this is okay. The other orange ones are hard to say, because of the deformation due to pulling. The blue one starts to show a bit of thickening where the teflon coupler would be. But the white one at the bottom has a huge sort of "blob-ring": here the teflon coupler is totally gone and needs replacement.
  8. Are the kathodes clamped in the mold, is it a sort of box, similar to a box for a camera filter or lens (e.g. UV-filter)? If so, I think I would rather go for something that can withstand rough handling during transport, and that still prints easy enough. PLA is hard but gets brittle, and snap-fits don't work well. Also it deforms in the sun, if left in a car, even in the trunk, outside of direct sunlight. It will keep deforming until the load and internal stresses are fully off. So, this might not be the best option? Maybe PET could be a choice, in its most
  9. It might depend on how deep the vacuum has to be? Not only the plasticizers might be a problem, but also water and plain air. For example nylon absorbs a lot of water very quickly, which means it goes through easily. Also, some plastics are not oil-tight nor airtight: oils and solvents might seep through, as well as atmospheric air. And what if it fractures? How big will it be, and how strong does it have to be? And what if it shatters: can that do harm or not? Big objects need to be incredibly strong. If it has to keep its vacuum for a longer time, I think you would be
  10. If you would have compressed air, also blow out the SD-card slots in the computer and printer. Often hairs or dirt get in there, causing bad contacts and thereby similar problems, resulting in corrupt files.
  11. Based on common sense and guestimating, I think the layer lines and voids in the print are going to be a 100x higher risk than the nozzle-composition. Nozzles don't melt into the print, unless you use very agressive materials. But the layer lines and voids will create areas where the bacteria will accumulate and breed, and you can't wash them out.
  12. I can't interprete gcode and can't verify it. But in Cura's layer-view you can see which traject the nozzle is going to follow. If Cura is at error, then you should see those erratic movements in the preview to. Before saving any gcode, you should always inspect the preview. Does it show those problems too? I rather think that, depending on your machine and file-transfer method, the memory card is defect, or the file is corrupted, or the card's connector is dirty, or the USB-stick is defect or corrupt, or the communication gets interrupted or corrupted if via network or USB-cable,
  13. I guess by "the thread leaning to the left" you mean that it is asymmetrical, like a sawtooth instead of a symmetrical triangle? If this model is printed standing upright, maybe this could be caused by the edges of the overhangs curling up? Some materials have a tendency to curl up on overhangs, due to the shrinking while cooling. Since a steep overhang is printed largely in the air, there is nothing to keep it down. See the photos below. Sometimes printing in very thin layers and as cool as possible might help. Sometimes thicker layers work better. Sometime
  14. Something I forgot: Also ask the manufacturer (or ask other users) which items are considered replacables that wear out? In the early resin-printers of this type, the plastic transparent plate on which the model was built, wore out very quickly: it got opaque and scratched, after which good prints were no longer possible, since the light has to shine through this plate from the bottom. I don't know the life and status of current printers. So you should question about this, and ask prices of replacement parts. How many prints can you do on the same spot, or how many hour
  15. I do not know this particular printer, so what I wrote are the general issues with most of these printers, as far as I am aware. Printed models come out dripping wet with sticky resin, and that has to be rinsed off. Then supports need to be removed, if any, depending on the model. Whether it requires post-curing in an UV-station might depend on the printer and resin type, some do, some don't. I don't know for this one. You should ask the manufacturer: - Which cleaning solvents are required: chemical formula? Are these general products ("open source", sort of), or o
  16. On Youtube you can find videos, if I remember well on channels of "CNC-kitchen", and "Maker's Muse", and others (I don't remember the names). These are indepentdent people (not company related) who have done lots of reviews of different products. These printers are getting a lot cheaper and more reliable now. The biggest drawback is that it is a huge mess: prints come out of sticky liquid, and they need to be rinsed in alcohol or similar solvents. This is messy, and creates chemical waste. Also, tiny supports need to be removed, but this should go easy. I do
  17. Before doing a whole mask, I would suggest to do a test model first. Start with default settings or proven settings from other people, and then on the fly change temperature and speed, and see what effects that has on your model. Different brands, material compositions and colors may all have an effect, as well as environmental circumstances (e.g. moisture).
  18. I have come across this terminology in manuals of power supplies, especially high-power units with separate sense-lines. If the ground-wire is too long or too thin, you can get a significant voltage drop across this line. Let's say the ground line has a resistance of 0.1ohm, and the current is 10A. Then you get a voltage of 1V across the ground-line. So the "ground" at the electronics board is 1V higher than at the supply. This was the definition of "ground level shifting". Hense the sense-lines in the power supply, which needed to be connected as close to the board as possible. Th
  19. Long ago there has been a discussion if the heated bed could be the cause? If it would draw so much power that the ground-level (zero volt) would shift up, and if the temperature sensor would use that same ground wiring, this could cause errors in the temperature the main board "sees". And then it would adjust incorrectly. But I don't remember exactly on what printer models this was (maybe UM2?), and what the conclusions or solutions were. Maybe you can find that again. It was several years ago. If you could print the same object on a cold bed, using glue, maybe you cou
  20. Yes sure, anything according to that concept. As long as it separates your hands from the door handle, and it doesn't contaminate your pockets! This is why I wanted a cylindrical object, not an open flat one like most others, so the inside would not touch your pocket lining. My first idea was using left-over pieces of copper tubing, rain/drain-pipe, aquarium-tubing,... Copper tubing would have the advantage of being self-desinfecting: its oxide outer layer is poisonous and soon kills germs; it is sturdy, easy to machine, and can easily be further desinfected or autoclav
  21. I designed a cover that separates care givers from contaminated door handles. The idea is that you carry this cover with you all the time, and slide it over a door handle to open the door without touching it. It protects you from contamination by dirty door handles, and vice-versa. You only touch the outside of this cover, and the door handles only touch the inside of this cover. There do exist lots of other means, but this one provides the best separation, as far as I have seen. And it can stand up vertically (it has to be printed this way), and can be re-used as a little vase, wh
  22. She looks like sun-burnt now. :-) I was thinking, for simple models you could make an inverse as mould, and pour gypsum into it. Gypsum is a lot easier to sand than plastic, and its stone-like structure hides small defects and layer lines. Then you would have a solid heavy-weight gypsum girl. But that method won't work for this model, because she has way too much undercuts in the hair, and in her fine hands and arms: even with a complex multi-part mould, it wouldn't go. PS: I didn't do any "heat-acetoning" myself. I had considered it, but I didn't want to explod
  23. I think effects like this might also be caused by fluctuating temperature, because that changes viscosity and flow-rate (=less back-pressure when more liquid). And maybe also by a worn-out white teflon coupler? But I don't know a good means to reliably measure the temperature from the outside? A thin and heat-resistant sensor that you could move into the nozzle from above might be best? (Of course after removing filament, removing bowden tube, and cleaning the nozzle.) And then let the printer run, "printing" this same object. Thus it goes through the same moves, same temperatures,
  24. I would suggest: cut out a small part of this model with some text for testing purposes only, so you don't waste time and material doing the whole thing. Try printing at 25mm/s, cool (but without underextrusion), and in thin layers (0.08mm...0.12mm). See what that gives? 3D-printing is always searching for a balance between quality and speed, but often they don't go together. So you will have to chose your priorities... In my experience (with UM2) such text on the sides always comes out poor, due to ringing effects and widening in corners when slowing down.
  25. I like the girl model. Have you ever tried painting such models in a gentle sort of "marble" technique? So it looks like stone or marble? I think that might work for this girl, and it might conceal layer lines and defects. I once knew an artiste who turned lightweight wooden crates into "heavyweight marble" bases for displaying sculptures. These bases were hard to distinguish from real marble. But I don't know how she did it, I only saw the results, not while applying it. Might be worth trying that? I also like the "old" look of the partially painted and sanded model. M
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