@@ -6,37 +6,41 @@ This week I produced some printed results, but I mainly spent a lot of time docu
Besides the documentation below, I also tried out some designs by printing them on textile. I worked with the image sampler to create some shallow surfaces consisting of separate geometries. They would fall apart if printed in the usual way, but printing them on textile holds them together. Sizing is a bit of a trial and error still. These samples are useful to try out how small you can go without elements just falling off. I printed these with an Ultimaker 3, using PLA, and Cura as a slicer.
*First test looking promising at first, Loes Bogers, 2019*
*First test on organza looking promising at first, Loes Bogers, 2019*
*3D texture on velour/velveteen, Loes Bogers, 2019*
*Some truchettiles on velour/velveteen (right) and lycra (left), a bit too thick for my taste, Loes Bogers, 2019*
**Things I can think now that I've tried making a few of these**
* Thin, single layer lines on velour/velveteen are so nice! Go nozzlesize (0.4mm) in the design and extrude the minimum (0.1mm) for standard setting print in Ultimaker.
*Not stretching the fabric out is a mess (left), single thin lines on velour/velveteen are beautiful though! (right), Loes Bogers, 2019*
* Very small dots jump off like crazy! Don't do very small single dots
* One layer of PLA is flexible, but it gets rigid after that real quick. If you design a relatively dense patterns I'd probably not make it higher than 1 mm for big chunks at a time.
* Could you print interlocking elements onto textile to sculpt garments?
* Grid-like structures give interesting rigid parts but need to have a function, otherwise it's just, well, hard.
* Covering the print bed with double sided tape helps prevent the textile from moving around and being dragged by the nozzle.
*Double sided tape on the bed, to keep the textiles from moving around, Tesa tape, Loes Bogers, 2019*
* Lycra needs to be fully tensed (stretched as for as possible), or the printer nozzle goes on a date with the textile. We do not want.
* Single lines on thin stretchy lycra are a bit ugly in my sample but I think they could potentially be interesting to give textures/frills.
* Slowing down the print speed to 50% helps the printer lay down the first layer, it will stick better to textile too.
* Organza is amazing, pink is amazing. You're perfect, never change.
* It would be nice to be able to turn off the skirt line (outside design, the printer adds this). Check out how.
* Printers just don't do small intricate things all too well, so be aware.
* Printers just don't do small intricate objects all too well, so be aware.
*These came jumping off, too small, I kind of like what the white line is doing curling up the lycra on the left though, Loes Bogers, 2019*
* Stopping a print halfway sounds like a good idea, but you don't get a full shell unless it runs until the end. You don't really want to see infill I suppose. Unless you do, of course.
* Scaling after the fact in the slicer software seems like a good idea too. But thin lines will get thick if you scale up and vice versa. Your working parametric now, Lucy goosey, just push a few sliders and do things at their proper size ;-)
* The Ultimaker 3 does an automatic leveling sequence to check if the bed is level and even. It does not want to have textile stuck on top of the bed. Luckily, the PRUSA printer, the ultimaker 2+ and 2+ extended can be fooled.
* Slowing down the print speed to 50% helps create better adhesion to the fabric, and make nicer lines with less dragging.
*Trying out the grid deformation designs, slowing down the speed of the printer gave much better adhesion, only printing one layer keeps the textile very flexible, Loes Bogers, 2019*
##Tutorial time
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@@ -185,12 +189,6 @@ There's many more techniques to do it depending on how you're constructing it I
*And another way to create solids from curves, Loes Bogers, 2019*
