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Everything posted by geert_2

  1. Yes, you are right. Bold does indeed work well for some "monoline fonts" where all strokes are the same width, typically road-sign style fonts, and if the characters are not too small. It is a good solution if you need text of ca. 10mm high. I have used that too. But for a lot of average fonts, bold mainly thickens the vertical strokes, not so much the horizontal. That still gives lots of problems in the narrow areas of characters like: a, r, n, b, d, etc., at very small sizes (a few mm caps-height). And it obviously doesn't work at all for serif-fonts. Maybe the reason why it is not said, i
  2. Yes, search seems to work much better now, I got accurate results.
  3. In the beginning, I also had trouble that Cura wouldn't print things smaller than 0.4mm (UM2 with standard 0.4mm nozzle). So for printing small text, I designed my own character set on a 0.5mm grid. Thus all strokes are wider than 0.4mm, with some spare: vertical and horizontal strokes are exactly 0.5mm wide. Diagonal strokes have a width between 0.48 and 0.53mm. Caps-height is 3.5mm, and most characters are 2.0mm wide (except W, M, and a few others). These characters are very easy to design, and they print reasonably well if printed cool and slow enough. I also tried different variants of s
  4. After cleaning, but before assembling it again, it might be a good idea to check tightness with compressed air and a gas pipe leak detector (spray can), or with water? Then you can see if there are still any leaks. I don't know if adding heat resistant copper paste on the threads is a good idea? or some similar anti-leak and anti-lock stuff? Like they do in chemical industry?
  5. Het kan automatisch in Cura (de precieze knopjes weet ik niet van buiten). Maar dikwijls kan je die supports beter manueel maken in je design programma. Tenminste, als je de modellen zelf kan maken en/of bewerken. De automatiekjes kunnen immers geen rekening houden met de soms zeer specifieke wensen of omstandigheden van modellen. Zie dit topic waar ik zojuist wat uitleg en een paar beelden met suggesties gepost heb: https://ultimaker.com/en/community/34784-best-settings-for-support-structures
  6. What you could also do, is keep the spool of filament locked in a sealed bag with disseccant (if I spell that correctly). And only take it out to unwind and cut off the required amount of filament. Then immediately put the spool sealed away again. And only feed the cut off end into the printer. The disadvantage is that you need to calculate some spare in, and the piece of filament in the bowden tube is always lost. You you have a lot of waste pieces of filament. But this might cost you less than destroyed models, especially in a commercial environment. I am not a fan of wasting material, but i
  7. In addition to the tips above from cloakfiend and GR5, if the models are small, you could also try printing them with 100% infill. For better bed adhesion, you could also try the "salt method": gently wipe the glass plate with a tissue moistened with salt water, prior to printing. In my experience this greatly improves bonding of PLA to the bare glass. (It does not work for ABS, and I don't know yet for other materials.) See the full PDF-manual on this salt method at:https://www.uantwerpen.be/nl/personeel/geert-keteleer/manuals/
  8. Hello Cloakfiend: a way to release complex shapes from a silicon mould might be to use a thinner mould. Like they do when casting human bodies. A thin layer of silicone can be removed like a blanket. But then you need to design and 3D-print a tight fitting hard shell too, that can be opened, and with register marks, so you can fit it together exactly. Otherwise the silicon mould does not keep its shape. This also saves you a lot of money on silicone, because you need far less. Google for Youtube videos on mould making and casting. Another thing that helps, is to spray the model with silicon
  9. I have similar font weirdnesses as Daid describes, although not identical. It looks a bit like the font is drunk. Also the fonts in the title bar (Explore Products Stories etc...) look pixelated. OS: Windows 7 SP1 Browser: Pale Moon (most recent version). Pale Moon is a split off of Firefox which still uses the old-style layout with menu bars and status bars.
  10. Yes indeed, I hadn't thought of that. If the spray can totally consists of polypropylene or polyethylene, it will survive. But if it contains ABS parts, you would indeed have a real problem when spraying acetone...
  11. I used to say that 3D-printing was not accurate enough to create smooth dolls like barby dolls or so. But obviously I need to revise that statement. Then a question: instead of using a brush, have you ever tried using a spray bottle? The sort of bottle with a hand pump, and adjustable spray nozzle, which people also use to spray plants? If the spray could be adjusted fine enough in a fine mist, without big drops and pooling, then you wouldn't need to touch the model while spraying. So you have less risk of getting marks on the model. Or would that have other side-effects?
  12. My two UM2 printers were delivered with 4GB Sandisk SD cards. Obviously they work. I don't know if it are SD or SDHC (I can't pull them out now since the printers are busy).
  13. It's an old post, but it may still be useful for some people. If you can get the image to show on a computer, the simples solution may be to make a screendump, save that as JPG-file, maybe clean it up in Photoshop or Gimp, and try to import that JPG-file in Cura. Another solution could be to make a photograph from the screen (e.g. at the doctor), or make a scan or a photo of a röntgen or of similar transparant slides. Then you don't need any conversion software.
  14. I like this idea. It is remarkably simple (from a slicer point of view: redo the top layer with different settings and direction), but it is remarkably effective. Definitely worth developing further.
  15. Yes, indeed. I also tried lots of different custom support designs for smoothest bottoms. What works best for me is: - A thin but solid bottom layer (e.g. 0.4mm). - Then a sort of tree-like scaffold, which leaves me lots of room to use pliers or hooks later on to pull the support out. - Then I split the tree in thinner branches. - Next again a thin solid layer, just below the bottom of the real model. - And finally small ridges of 0.5mm wide, separated 1mm. - And a gap of 0.2mm (minimum, for very fine models) to 0.5mm (for bigger models) between these ridges and the real model. Then th
  16. For me standard Loctite Cyanoacrylate glue "Super Glue-3" works well. They also sell a special version of this glue with an activator for plastics: wipe over the plastic with the activator (=a sort of felt pen like a fluo-marker, but colorless), let that dry for one minute, then glue as usual and let it cure. But be fast to bring parts together, because the activator also speeds up the curing. I found this in the Delhaize supermarket, among the paper, pens, and other school stuff: "Loctite, super glue-3, All plastics". Of course, grinding may also help, due to the increased contact surface.
  17. Have you tried printing the parts directly on the glass plate, without raft or supports? That should give nice flat bottom layers. If you print on a raft or on supports, the first layer of the model will always look ugly: there has to be a gap between supports or raft, and print, otherwise you can not remove the support from the model. But that makes the first real model layer sag and distort, thus ugly and with holes in it. If you don't mind assembling, try modeling the parts in such a way that every part has one big flat plane on which to print it. Else, it is best to design your own suppo
  18. That's what this 15 page topic is all about. There's even videos if you look through it. I think video is better than pdf in this case because people kind of have to see you actually do it and the number of seconds submerged and all that. Yes, a forum like this is perfect indeed to discuss and develop things together, and to show progress and experiences. Or to get help or instructions in case of problems. But after a couple of years, these good posts tend to get hard to find back, as they sort of get "snowed under" all the new stuff. So the same questions keep popping-up over and over a
  19. Regarding the small size of this portrait, only a few fingers, the smoothness is impressive. I think you should write a manual (PDF) with your best techniques. It could become the "standard manual on smoothness" in 3D-printing, or something like that. :-) For this item, let me guess: you have acetoned it, cleaned it a bit, and then polished it with some plastic/acryl polishing paste? But no paint, no varnish, I guess?
  20. What I am sometimes missing now, is status info during printing, such as: nozzle temp, bed temp, fan %, speed (actual mm/s, and in flow %), flow %, layer nr. of total layers. This comes in handy when playing around with settings, so that I don't have to open all submenus to find out. Would it be possible to add this, if it would fit on the screen? Probably some parts need to be alternating. For example (I limited each line to 20 characters, like it is now. I don't know if you can put more text per line?): -------------------- file_being_printed time to go 9999 min nozzle 222° bed 100° f
  21. This all sounds very interesting. A question: how difficult is it to machine this Celazole PBI in reality? And how resistant is it to breaking or chipping, by your experience? I read in the specs above that it might require special tools? But to me it is not totally clear if that applies to high speed, high volume serial production only, or also to small scale production? And if you would print high temp materials like nylon or ABS-PC blend (270°C), does it still deform, or not at all?
  22. The finish and detail of your models is excellent, almost indistinguisable from real bronze sculptures. Really amazing. If there is anything that could still be improved, I think it would be the modeling of the eyes. But that is rather a question of personal taste. Some people like the "blind eyes" style (=without pupils and iris), because it gives some sort of distance and abstraction (I don't know how to describe it very well in English), and it leaves more to the imagination. Other people, including me, rather prefer more realistic eyes with clearly defined pupils and iris, to give the
  23. Bill2 and peggyb: thanks for the info! Geert
  24. That machinable wax, is that available in 2.85mm filament? Or do you use some feeder/melting pot you designed by yourself on top of the printer head? If filament, how wel does it transport through the bowden tube and feeder? Thus without breaking, and without grinding? Such wax might also be very usefull for artists who want to make bronze sculptures in the traditional way by moulding and casting. Instead of making a clay original, they could print it in wax. Or for casting small automotive parts in iron or aluminum, such as model airplane engine parts.
  25. For your next prints, I would suggest that you give the "salt method" a try. (=Wiping the glass plate with very salt water, prior to printing. No glue, no hairsprays.) For PLA this gives a very strong bond when the glass is hot, but no bonding at all after cooling down to room temp: the models just pop off. No more need to take the glass out of the printer, no more recalibrating the build plate... I use this since more than a year, and have had no problems since: no bonding problems, and no removing problems. For the full description, see the PDF-manual at: https://www.uantwerpen.be/nl/per
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