What do you get when you mix rigid and elastic polymers with a laser-scanning 3D printing technique? If you are researchers at ETH Zurich, you get robot hands with bones, ligaments, and tendons. In conjunction with a startup company, the process uses both fast-curing and slow-curing plastics, allowing parts with different structural properties to print. Of course, you could always assemble things from multiple kinds of plastics, but this new technique — vision-controlled jetting — allows the hands to print as one part. You can read the full paper from Nature or see the video below.
Wax with a low melting point encases the entire structure, acting as a support. The researchers remove the wax after the plastics cure.
If you have an artistic bent, you might have seen self-inking stamp rollers. These are like rotary rubber stamps that leave a pattern as you roll across a page. [Becky] wanted a larger custom roller and turned to 3D printing to make it happen. The first prototype used a modified Sharpie. However, she soon moved to an unmodified acrylic marker that had a rectangular tip.
A Tinkercad design produces a cap that fits the marker and a wheel that contains the desired pattern. Text works well, although you can easily do a custom pattern, too, of course.
One of the challenges with 3D printing is seeing how far designs can be pushed before they break. This includes aspects like flexible hinges and structural components, but also smaller details such as screw threads. Often metal inserts with threads are added to FDM 3D prints by melting them into the plastic, but might 3D printed threads be sufficient for many cases? This is a question which [Adam Harig] sought to investigate in a recent video while working on parts that would connect to a rather expensive camera.
Trusting expensive camera gear to 3D printed threads… (Credit: Adam Harig)
Rather than risking the camera, a few stand-in cubes printed in PLA+ (AnkerMake brand) were used, with these and their internal thread being exposed to destructive testing. For the measuring equipment only a luggage/fishing scale was used. The difference between the test parts was the amount of infill, ranging from 10 to 100% infill, with 0.2 mm layer height. After this the test involved pulling on the metal hook screwed into the plastic test item with the scale, up to the point of failure or the human element giving up.
The results are rather interesting, with the 100% infill version scoring better than than the 50% infill version (the next step down), with [Adam] giving up on trying to pull the test unit apart and with the scale maxed out. This gave him enough confidence to use this design to lift his entire camera off the table. What’s perhaps most interesting here is that the way the test items were printed, the layers experienced a peeling force, which as the final clips in the video show seemed to often result in the bottom layers giving away, which was the part not being held together by the metal screw inside the item. What the effect of dynamic loads are is something that should possibly also be investigated, but it does show that FDM printing screw threads is perhaps not that silly.
[Ivan Miranda] is taking a very interesting approach to a marble clock. His design is a huge assembly that uses black and white marbles to create a (sort of) dot matrix display. It’s part kinetic art and part digital clock, all driven by marbles.
Here’s how it works: black and white marbles feed into a big elevator. This elevator lifts marbles to the top of the curved runs that make up the biggest part of the device. The horizontal area at the bottom is where the time is shown, with white and black marbles making up the numerical display. But how to make sure the white marbles and black marbles go in the right order?
The solution to that is simple. Marbles feed into the elevator in an unpredictable order. An array of sensors detects the color of each marble. Solenoids simply eject any marble that isn’t in the right place. For example, if the next marble for track n needs to be white, then simply kick out any black marbles in that position until there’s a white one. Simple, effective, and guarantees plenty of mesmerizing moving parts.
Of course, this means that marble ejection and marble color sensing need to be utterly reliable, and [Ivan] ran into problems with both. Marble ejection took some careful component testing and selection to get the right solenoids. Color sensing (as well as detecting empty spaces) settled on IR-based sensors commonly used in line-following robots.
You can watch the clock in action in the video embedded below just under the page break. We recommend giving it a look, because [Ivan] does a great job of showing all of the little challenges that reared their heads, and how he addressed them. There are still a few things to address, but he expects to have those licked by the next video. In the meantime, [Ivan] asks that if anyone knows a source for high quality glass marbles in bulk, please let him know. Low quality ones vary in size and tend to get stuck.
While multicolor printing eliminates painting steps and produces vibrant objects, there are two significant downsides; filament consumption and print time. A single-nozzle filament printer needs to switch from one color to another, and doing so involves switching to the other filament and then purging the transition filament that contains a mixture of both colors, before resuming the print with the clean new color.
[teachingtech] tests out a variety of methods for reducing print time and waste. One surprising result was that purging into the infill didn’t result in significant savings, even when the infill was as high as 50%. Things that did have a positive effect included reducing the amount of purge per transition based on light to dark color changes, and printing multiple copies at once so that even though the total amount of waste was the same as a single part, the waste per part was reduced.
All of the tests were with the same model, which had 229 color changes within a small part, so your mileage may vary, but it’s an interesting investigation into some of the deeper settings within the slicer. Reducing filament waste and print time is an admirable goal, and if you make your own extruder, you can turn all of that purge waste into various shades of greenish brownish filament. Continue reading “Reducing Poop On Multicolor Prints”→
The fundamental problem with multi-color 3D printing using a single hotend is that they poop an awful lot. Every time they change filaments, they’ve got to purge the single nozzle, which results in a huge number of technicolor “purge poops” which on some machines are even ejected out a chute at the back of the printer. The jokes practically write themselves.
What’s not a joke, though, is the sheer mass of plastic waste this can produce. [Stefan] from CNC Kitchen managed to generate over a kilo of printer poop for a 500-gram multi-color print. So he set about looking for ways to turn printer poops back into filament, with interesting results. The tests are based around a commercial lab-scale filament extruder, a 3Devo Composer, but should apply to almost any filament extruder, even the homebrew ones. A few process tips quickly became evident. First, purge poops are too big and stringy (ick) to feed directly into a filament extruder, so shredding was necessary.
Second, everything needs to be very clean — no cross-contamination with plastics other than PLA, no metal bits in the chopped-up plastic bits, and most importantly, no water contamination. [Stefan]’s first batch of recycled filament came from purge poops that had been sitting around a while, and sucked a lot of water vapor from the air. A treatment in a heated vacuum chamber seems to help, but what worked best was using purge poops hot and fresh from a print run. Again, ick.
[Stefan] eventually got a process down that produced decent, usable filament that would jam the printer or result in poor print quality. It even had a pretty nice color, which of course is totally dependent on the mix of colors you start with. Granted, not everyone has access to a fancy filament extruder like his, so this may not be practical for everyone, but it at least shows that there’s a path to reducing the waste stream from any printer, especially multi-material ones.
I never feel like I have enough space in my workshop. The promise of consolidating tools to make the most of limited space drew me to the Snapmaker Artisan, a plus-sized 3-in-1 tool combining 3D printer, laser engraver, and CNC machine.
Smaller than three separate tools, but still big.
Jacks of all trades may be masters of none, but it is also true that a tool does not need to be a master of its functions to be useful. For many jobs, it enough to simply be serviceable. Does a machine like the Artisan offer something useful to a workshop?
Snapmaker was kind enough to send me an Artisan that I have by now spent a fair bit of time with. While I have come to expect the occasional glitch, having access to multiple functions is great for prototyping and desktop manufacturing.
This is especially true when it allows doing a job in-house where one previously had to outsource, or simply go without. This combo machine does have something to offer, as long as one can give it generous table space in return.
What It Is
The Artisan is a large dual-extrusion 3D printer, CNC router, and diode-based laser engraver. To change functions, one physically swaps toolheads and beds. Very thankfully, there are quick-change fixtures for this.
Driving the Artisan is Snapmaker’s software Luban (GitHub respository). Named for the ancient Chinese master craftsman, it is responsible for job setup and control. For laser and CNC work, there are convenient built-in profiles for a variety of paper, plastic, leather, and wood products.
The unit is enclosed, nicely designed, and — while I have come to expect the occasional glitch — serviceable at all three of its functions. The size and stature of the machine warrants some special mention, however.
