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Everything posted by geert_2

  1. I use Cura 14.09 on two computers (haven't found time to try later versions...), and on both retractions were enabled by default. I heard and saw our printers doing retractions even before I knew what retractions were, when I began 3D-printing.
  2. If you want "non-stick" silicone, make sure to use mould-making silicone, but *not* sanitary silicone (which may be very sticky). Silicone for mould making and casting is available from dental laboratory suppliers (dental labs use it to make casts of teeth models), or from special-effects suppliers for the film and theatre industry for their masks and props. There do exist liquid versions, where you have to mix liquid A and B in correct ratios, and versions that you can paste-on, but liquids are better as they give much more detail. But these silicones are not strong: they tear easily. They
  3. 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.
  4. Similar visible deformation could also occur when the layer surface to print brutally changes from very big to small. Thus when the part suddenly gets a lot smaller (with a step, not gradually). This gives very different layer cooling times for the big surface and then the small surface. The small surface may not have enough time to cool, and thus deform. This often gives similar lines too in my prints at such changes in print layer area.
  5. 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
  6. I hope you didn't leave a 2 meter sized print in your hot car? No, it was an experimental dental appliance, a sort of spoon or fork on which you can put silicone paste and then make an impression of the teeth. About 12cm long, 5 cm wide, and 3 to 6mm thick. But even that warped badly on a mild spring day, not even summer. And then it was in a silver (light reflecting) car, not even a black one... Also a few clamps warped badly. Heat treating these parts in an oven helps a bit, but not enough. So I would be *very* careful when transporting anything bigger, that took weeks or months to ma
  7. If you leave a part printed in PLA in a hot car in the sun, it *will* warp, although some brands warp more than others. Thus PLA is unsuitable for anything that gets hotter than ca. 50°C. If it needs to get *really hot*, as in projectors, you might consider casting: make the mould in PLA, or make the original model in PLA and then cast a silicone mould from it, and then cast the final item in a heat resistant material (clay, gipsum, whatever) in that mould. Plastic in combination with projector lamps that go up to several hundred degrees celcius, doesn't sound like a safe idea to me.
  8. In my experience, if you print too fast, filament has too little time to melt (causing underextrusion), and the printer head's movements overshoot at corners (mechanical vibration), causing visible vertical banding ("ringing"). If you print too slow, the filament has too much time to melt (causing stringing), and the print head stays too long on the same spot and will melt the rest of that area too, causing visible deformation. You often see this when printing very small items (e.g. fine text). So you need to find the optimum inbetween, for each material and each model. Normally I use 50mm/
  9. Just make sure you never leave it sitting in the sun, in a hot car, or in hot studio spot-lights. The model will not time-warp, but it may dimension-warp. (Don't ask me how I know...)
  10. @jamado: if you want to print with very fine details, smooth surfaces, and hard-to-see layer lines, I would suggest that you read the thread by Cloakfind on smoothing PLA with aceton. This thread contains a wealth of good info on temperatures, speed, layer heights, etc. for finest quality. Plus it has a lot of photographs showing each test. It is a lot of reading, but worth it. I think it is this URL: https://ultimaker.com/en/community/10412-acetone-finishing-on-pla
  11. 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
  12. It took some time and observation to find this method, there was nothing random about it. I often have difficult models: very long, thick, 100% filled, with chamfers at the bottoms. So they exert a lot of warping forces, even for PLA. Printing on bare glass worked only in freezing cold weather when the air was very dry. But even then corners would lift. In moist weather, printing on bare glass did not work at all, and there would be no bonding at all. So, surface tension or surface charge seemed to play a role. Glue stick worked reasonably, but some models got stuck too hard (those that had
  13. Just for your information: my "salt method" to glue models to the glass plate (=by wiping the glass plate with very salt water, and let it dry into a thin mist of salt) does *not* work with ABS+ filament. Even simple models warped and came off, so I had to abort them. I tried it on a spool of ABS+ that I still had laying around, but never used before. (Note: ABS+ is supposed to be an improved ABS, which should have less warping than standard ABS. But I don't know the precise chemical composition. I guess it may have a bit more butadiene than usual, to make it softer and warp less? At least,
  14. I had also stumbled upon this guy and this video, I don't remember how. His filter concept may need a bit of refining, but I like the simplicity of the basic idea. And for sure silicone oil does not get ransic like vegetable oil, which might become a tough mess over time. And it doesn't seem to make the filament slip in the feeder either (which is a bit surprising to me). Off-topic: also have a look at his gaming computer in the background: with four huge screens and 24 CPU-cores, I guess it will make any flight sim, or a GTA V race game, a whole new experience. Slightly above an average s
  15. 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?
  16. Yes, PLA starts deforming slowly around ca. 50°C. I also had that. Never leave it in the sun, behind a window, or in your car (even not in spring, autumn). (I can read Deutsch, but writing is more difficult.)
  17. 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
  18. Ik calibreer eerst volgens de officiële methode, met een blad gewoon papier (ik heb twee Ultimaker 2, geen plus). En dan maak ik een testprintje, een dun kader van 200mm x 200mm. Tijdens het printen van die eerste laag regel ik de schroefjes voorzichtig een beetje bij tot het goed lijkt. Maar ik heb de nozzle liever iets dichter bij de plaat. Dus soms geeft dat inderdaad een beetje overextrusie bij die eerste layer, afhankelijk van het model. Maar de onderzijde is dan wel altijd bijzonder mooi glad, zodat mijn onderdelen nadien goed over elkaar schuiven zonder haperen.
  19. 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?
  20. 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
  21. Out of curiosity, a question to the Ultimaker developers: have you ever tried "Rulon" and "Fluorosint" for the PTFE couplers? Rulon is an enhanced PTFE material, with higher mechanical and temperature resistance than normal PTFE (some sources say 260°C, some say 288°C max continuous temp). It is used for high performance seals and bearings. Being a PTFE-based material, low friction and self-lubricating, it might also work well with PLA? Fluorosint is PTFE filled with mica, with one version going up to 315°C max continuous service temp. I stumbled upon this, after reading the recent post by
  22. Try reducing the temp in steps of 5°C while printing the fine details. With some filaments, you may be able to go down to 185°C. Also reduce speed accordingly to improve the shape of the text and lines (less vibration effects of the head), and to give the filament time to melt. For small text, similar to your "2016", I usually get the best results around 190°C and 25mm/s speed, for colorFabb and Ultimaker Pearl filament. (I don't know the yellow.) This greatly reduces the stringing and the blobs, but I could never totally eliminate these "blobs": whenever the head wants to jump to another ar
  23. Bill2 and peggyb: thanks for the info! Geert
  24. I use DesignSpark Mechanical, distributed by RS Components. This is a free but limited version of SpaceClaim. Pro: very handy user interface: can work by pushing-pulling features or by entering dimensions numerically. Easy to learn. Lots of good training videos available (you can also use SpaceClaim's videos, if you take into account the limited features of DesignSpark Mechanical). Ideal for designing mechanical and machine parts. And for parts that you want to keep editing afterwards. Thus ideal for let's say designing parts for a 3D-printer, feeders, etc... Contra: STEP- and IGES-file impo
  25. 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.
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