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kmanstudios

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Everything posted by kmanstudios

  1. What are you using to hold the print down on the glass? Hairspray? PVA glue? etc.
  2. Awesome! 👍 That has been all of us at our starting points. 🙂 I used to post under the nom de plume "The clumsy noob" complete with pics of burned fingers and other things. And, when I had to sign things, I would use my plume de nom. 😜 These days I am more of "The forgetful dood." You will be surprised how fast you can get through this in the future. It is a bit of an upward slope at first, but it all starts to come together. Not really.....you can try using bitmap (2 bit black and white) as well as 256 for this if you want to cut down on the anti aliasin
  3. I have only one question...why are you wearing your kilt around your shoulders? 😆
  4. Ummm, like 99.9%.... So, you are asking for the slicers out there to envision every instance to compensate for modeling? At which point does the slicer become more modeling software than slicer? I do not see it as offensive, but slicers are trying to be the best at slicing, not model compensation. Things like mesh modifiers do their job very well as they are designed to do. Vary the infills, wall counts, voids, etc. I use them all the time for the purpose of modifying the way the existing mesh prints, not to compensate for modeling choices. This has be
  5. I am of the school of thought: Make the object the way you want it to print.
  6. I am not sure what the bottom image is...sorry. But I can (hopefully not confuse you) with the brightness issues. It has to do with antialiasing and such. All the image has to do is have a few pixels that are not the same value to make the levels not smooth. You may not see it, but it can be in there. As for thin walls, yes, Cura can only slice for print down to a certain thickness. Try turning on 'print thin walls.' Or just make the image a tiny bit thick in those thin wall areas so Cura can see it for your nozzle size.
  7. I would first assume that there is a difference in colours not perceptible by the naked eye. Was this made with a vector program or bitmap program?
  8. For the setup of what I will be showing next, I would like to take a minute to go over the two types of ecosystems you should be aware of. Material Ecosystems are the basic use of the types of paint you wish to use. Oil based such as traditional enamels Solvent based like lacquers Water based like acrylics Traditional enamels are the type of paint that can go over an acrylic. If there is an enamel based paint that has an acrylic painted over, it will cut loose over time. So, always, water based and then traditional enamels. If you are using enamels, then you n
  9. Thanks for providing links for him. I could not think where I found it before.
  10. Or you can use the search tool at the top of the settings panel. Personally, I am all for the show all settings. It is a lot, but, can open a lot of tweaks as you learn.
  11. I am not sure where to find the info...I think @fbrc8-erin had a series of instructions concerning this. I tagged her so that she can hopefully gather the links for you.
  12. Doh!! 😖 That totally slipped past me.....
  13. Great work 🙂 I do not know the building, but I am now hearing The Who's '5:15' in me wee little noggin 🙂
  14. Did you do a really good hot and cold pull to make sure the CPE+ was fully out of the core?
  15. That is nice 🙂 I like the design. Yours or based off of a real building?
  16. I wash the prints with a degreasing dish soap and then thoroughly rinse to remove all traces of PVA as well as oils from the hands. There are times the print is soaked a lot in a vat of water with just a tiny bit of dish soap. But it will always get a final rinse and scrub. But binding is increased by spraying lightly and building up layers. And, then for some things like the critter above, at a certain point, I am really flooding the surface with paint. This is a basic tutorial for painting rattle cans over plastics (model building focused, but it applies t
  17. As an aside and back to chrome paints: If you are looking at the Spaz Stix line of paints (and they have some really cool paints 🙂 ), this vid demonstrates why I do not use their chrome based paints. And, yes, I have tried their chrome. Their Chrome is to be used on the inside of the transparent body. It works spectacularly well for what they are designed for. For the best Chrome review I have found for our applications (on top surface and not under transparent plastic), this is the link to @cloakfiend's review of chrome paints. I will be trying the Molotow Chrome
  18. When the model scales by that amount in the slicer, it means the scale is off. Where did you get the model? Or did you make the model itself? I am downloading it so that I can look at it later and let you know what I have found.
  19. Paints usually belong in an eco-system: Acrylics with acrylics and solvent based with solvent based. Also, making sure what will bind, will bind well. Also there are brand based ecosystems. Also, usually you can paint acrylics on a good primer base and then solvent based on top of that will usually work. This allow me to paint with an acrylic primer and then paint with any solvent based paint. In this print I used only the paints with the same base properties (as well as a brand based eco-system). These paints are part of the Dupli-Color anodized paint series. They prov
  20. OK, so I tried something different: Ornaments. My first ones were primed and painted with Krylon's original Chrome. The spiral ornament was left alone, but I shot some anodized paint over it.....meh..... So, I started to put washes of Pthalo Blue and Unicorn Milk. I built that up until it was a very deep, rich blue with pearlessence. The silvering parts were done with Semple's Holographic powder (Technicolor). But, shooting clear over the ball softened the out layers of paint and, well, let us just say that you should not drop them or it
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