kmanstudios

Just did a quick download. At a quick glance, this looks nice. AND, of course, I tested one thing that drove me crazy in the last release: When merged models were reloaded by way of 'Reload all models', it would jump. It does not do so now! I look forward to the other doodads to see how it works. :)

Sorry you had issues with the printing process.....😟

I know. That is why I said 'great minds.' :) I just found it funny because I had a couple I did that looked a bit like a couple of yours. Not implying anything negative. 👍

Some of those look a little like the ones I designed. Great minds and all that stuff. Very nice indeed. :)

As @SteveCox3D once told me, "The thinner the layer of glue between two surfaces, the better the bonding." If he notices this, I will let him explain since he has the technical knowledge that would make better sense. And, As I have made my PVA into thinner layers, it does bond much better than before. <------This is the best I have to offer....duuurrrrhhhh Oh, and the glue sticks are some sort of PVA, I believe.

I just take the waste that I can break off and put it in water. Some will stick to the model and have to be 'melted' away with water, but for the most part you can break it off or clip it off and just soak it.

I just recycle my used PVA. Hate waste.

Pretty ,much all it is.

Waaaaayyyy, back in the day, during the 3D rendering dark ages, if an object was in one location, it would generate a black spot. If the model was moved just ever so slightly, or even the camera, it would go away. Just for funzies, I wonder if it would remain if moved. Basically, a null return based on a positional issue.

I have seen this happen periodically in regular slices too. It seems to be a sporadic issue that is not persistent. If I slice again, it goes away. I have not tried to print one, but seems to be more of a graphics issue and not a real slice problem.

Does PVA stick to glass? Yes. Follow all the steps listed. Level buildplate Very clean glass Thin layer of PVA based glue I do not have issues with PVA on glass.

@geert_2 asked about transparency and printing them. I saw this post elsewhere and though I do not think it would be good for what I am doing above, I think it is a good thing to consider for other projects. https://hackaday.com/2018/12/11/true-transparent-parts-from-a-desktop-3d-printer/?fbclid=IwAR3uP3W0fAE_ej6bp8VvflOeXPvFEv7yyHoH-jEt8jJBPWlaoNjq9E33tVg

That is a very nice print :) I really look forward to seeing it lit up.

Just out of curiosity, can you re-coat them in a new metal bath?

I am sure someone will figure it out. Until then it is a unique opportunity for 3D printing. You are welcome :)

Here is an image of how I set up the dancer file: The Master model is all intact. The model for modifying has the body removed and then 'pushed' out along the vertex/face normals so that it encapsulates the parts I want. With the modifier model, I tell it to use a different density. This way I do not have to worry about the proper meetup of two separate models and can control whether it as more or fewer walls. The main system has an infill of say 8% gyroid. Then I use the modifying model to use, say, a 30% gyroid. Both of these are just numbers for example and will depend on the model employed. The only control I have found for colours is that you can specify shell colour and and infill colour. Would not know about transparents, but would work with solid models in the example above. In transparent materials, I use a large bore nozzle and one wall at larger than normal layer heights. This increases the transparency by eliminating air gaps between walls. But the only way to really to tell would be to experiment. Basically I followed this example: http://taulman3d.com/t-glase-features.html Once I found this, it became the template I worked from. As for smoothing the surface, I would think that applying any chemical to the materials would cloud it. Personally, I like the way the layers work with the light. And, most people who have held the physical models seem to like the look as well. I have not gotten around to using my XTC-3D yet to see how that would help.

That is the struggle I am working to overcome. Struggle just comes in many different forms.

That is the problem with trying to do ideals. Drives me nuts. For instance in this series of time, I am using the basic kinda art deco anatomy/simplification from about the 20s to early 40s and letting it be more abstract from detail. But I am also using photo reference and then modifying it to make it work as a non support needed print. I just try to stick with basic proportions on lengths of relative body parts, like the foot should be the equal length from crook of elbow to wrist. Surprisingly, it seems to be one of the more consistent body part relationships. Stuff like that. These pointy things are actually printed hollow with a single wall. Not really that much lost. They look like they connect, but they do not when sliced. Too thin to register in the slice thickness. Just enough to stop that wiggle as it goes up. Colorfabb transparent red. Saving that stuff....almost out. Out of almost my transparents at this point. It is just slightly redder than their copper. I may shoot some transparent red over it to redden it and still keep that sheen it has. Hopefully......

This one is tricky to print. While designed for no supports (Literally no overhangs in bad angles), it wanted to keep snapping off at the ankle. So, I had to make 'stabalizers' to keep that wiggly nature down to minimum. The balance was the hardest part. I do not really have truly level surfaces, but am testing out another print to see if I can improve the balance. In this image, if I put her in one rotation, it will be fine (as you see. But in another, it will topple over. This was the first design iteration, so I pretty much got my balance nailed, but just not perfect. May just design something for her to stand on so that no matter what surface it is printed on, it will be stable. But to get the best balance possible, I am printing out a series of tests to see if I can really nail it. I want that balance really spot on before doing a stand. Single wall, 10% infill, Polyalchemy Elixer 'Crimson red.' 'Crimson Red my third foot!! I do not know who named that colour, but they should be shot with the colour gun to realign their naming strategy. Where I purchased it, they used the proper name and then in parenthesis, used 'salmon.' And, oh boy, is it salmon coloured. Just slightly redder than a copper. And the stabalizers for use during print to keep it from being all wibbly wobbly.

Nope on the wifi outage. But, that is why I posted it. Wanted to get it out there.

So, the printer has been going for a few days now. Decided to disconnect from Cura Connect (again). Decided to do a manual connect and found this information. The disconnection seems to be during long prints...give it a dy or two and it will bail in most cases. Once in a while, within a few hours. But this is the first time I have seen it just completely drop out like this.

Well, yes, the wings are the other way around, but still not far off. When you have an almost eidetic visual memory, it gets difficult to separate the ideas from the recall. So, it is a bit of a struggle.

That was not in my original thoughts. I was worried when I first conceived of it that it would be too close to the 'Phantom Cruiser.'

Oh, and I think it is just purty :)

yep. nothing more than that. Or, let the patterns be manipulated by region. For instance, in the dancer, I used an overall pattern in the model as a whole, but used the model settings to dictate a denser pattern to alter the light passing through areas. But, it is basically the same thing. Just one is internal and, if chosen, one external. Infill expansion will not protrude except horizontally, thus needing the extra model to create a specified area in all directions for infill poking through uniformly.