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Changed the design on the side panels as well to match the Replicator 2 style.
Custom Replicator case increases build height by 100mm.
Replicated from this image in the JR James Collection: www.flickr.com/photos/jrjamesarchive/9502184340
E. coli replisome in action. SC= sliding clamp, SSB=single-strand binding proteins. Lagging strand is on the bottom, leading strand on the top. Illustration for my BI381 molecular genetics class by Ben Shea.
E. coli replication fork, showing Pol III (green), sliding clamps (yellow), primase (pink), and dnaB helicase (light blue).
Based on O'Donnell, M. 2006. Replisome architecture and dynamics in Escherichia coli. J. Biol. Chem 281: 10653-10656.
ENGLISH
These images show the unboxing and setup of the MakerBot Replicator 2 personal 3D printer.
SVENSKA
Dessa bilder visar uppackningen och igångsättning av MakerBot Replicator 3D-skrivare.
This small device traps dust in a small sponge before it enters the extruder. In some cases it can also be used to easily lubricate the filament just before it is extruded.
The adapter is designed to fit the Replicator (1) and Replicator 2 extruders.
Protecting your 3D printer's extruder from foreign particles is an important part of keeping the machine maintenance-free. This adapter makes it easy to keep the filament clean.
1 - Download the STL file
2 - 3D print it as is with standard medium or fine settings
3 - Cut two small pieces of sponge and place them into the filter case
4 - Close the case with the lid and two standard 3 mm screws
5 - Unload the filament from your Replicator 1 or 2
6 - Remove the filament guide tube
7 - Insert the loose end of the filament into the adapter.
8 - Make sure that it passes through the sponge and slides smoothly
9 - Insert the adapter into the Replicator's extruder hole
10 - Insert the filament guide tube into the top part of the adapter
11 - Enjoy hours and hours of dust-free 3D print extrusion
Check this Youtube video for more information:
Every now and then open the adapter and check the sponge for dust. Replace if necessary.
In some cases filament can jam or cause uneven 3D prints if the friction in the extruder's filament tube is too high. This adapter can also be used to lubricate the filament just before it enters the extruder.
creativetools.se/makerbot-replicator-1-2-filament-dust-filter
This handle makes it easy to reach deeply into the 3D printer while calibrating and levelling the build platform. It is designed to hold a standard Post-it sticky paper on it's tip.
In most cases the optimal gap between a 3D printer's platform and the extruder's hot-end tip, is 0,1 mm. A common practice is to use a simple sheet of paper and place it on top of the build platform just under the extruder's tip.
The platform is then adjusted to only just let the paper slide freely. The adjustment must be made on all corners and the centre of the build plate until it is perfectly level.
• Download the STL file
• 3D-print it
• Grab a Post-it sticky of your preferred colour
• Stick it on the flat front end of the 3D-printed handle
• Set-up you 3D-printer for levelling the platform
• Place the paper between the the platform and the extruder tip
• Adjust the build plate's screws and move the handle slightly to make the paper slide under the extruder tip
• When you feel a slight friction stop adjusting the screw
• Repeat this process on all corners and centre of the platform until you can feel the same friction on all spots
Make sure that you only use one sheet of Post-it paper and if unsure control-measure it with a calliper to verify 0.1 mm thickness.
After calibrating your Replicator's platform it should remain level for a long time. Until you need to calibrate it next time you can use this Post-it handle for other purposes as follows:
• A very gentle fly-swat (PETA-certified ;)
• A small sign holder you can use to communicate short messages to your office mates
You can download the 3D file for this handle from:
www.thingiverse.com/thing:69656
It was printed on a makerbot.creativetools.se
A comparison of four different common 3D-print layer heights.
• 0.34 mm/layer - Low (340 microns)
• 0.27 mm/layer - Medium (270 microns)
• 0.1 mm/layer - High (100 microns)
• 0.05 mm/layer - Super fine (50 microns)
These models where 3D printed with blue 1.75 mm PLA plastic filament on a MakerBot Replicator 2 3D printer.
The sample 3D model for this print is MorenaP's popular tree frog: www.thingiverse.com/derivative:34468
3D-printer: makerbot.creativetools.se
Laser-cut plate: www.thingiverse.com/thing:69351
Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 25, 2018. BLM photo: Matt Christenson
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...
ENGLISH
These images show the unboxing and setup of the MakerBot Replicator 2 personal 3D printer.
SVENSKA
Dessa bilder visar uppackningen och igångsättning av MakerBot Replicator 3D-skrivare.
During OHM2013, we tested printing a Minecraft model on a MakerBot Replicator 2. Turned out much better than we had expected! The model was exported with Mineways with the standard size of 2mm per block (edge length). For the print, it was resized to 60%.
Painting and markings:
As mentioned above, the livery is based on an official profile which I deem authentic and canonical. My aircraft depicts a different machine from VFT-127, though, since I could not (and did not really want to) 100% replicate the profile's machine from the Macross PLUS source book, "13 Red". Especially the squadron’s emblem on the fin would create massive problems.
For the two-tone wrap-around scheme I used Humbrol 72 (Khaki Drill) and 98 (Chocolate Brown), based on the printed colors in the source book where I found the scheme. The pattern is kept close to the benchmark profile, and, lacking an underside view, I just mirrored the upper scheme. The starboard side pattern was guesstimated.
As a second-line aggressor aircraft, I weathered the VF-4 with a black ink wash, some post-shading with various lighter tones (including Humbrol 160, 168, 170 and 187) and did some wet-sanding treatment for an uneven and worn look.
Interior surfaces were painted according to visual references from various sources: the landing gear and the air intakes became white, while the cockpit was painted in RAF Dark Sea Grey.
In order to add some color to the overall brown aircraft I decided to paint the missiles all around the hull in white with tan tips – in the profile, the appear to be integrated into the camouflage, what I found dubious.
Most stencils come from the OOB sheet, but I added some more from the scrap box. The grey "kite" roundels come from an 1:72 Hasegawa Macross F-14 Tomcat kit sheet, which I acquired separately for a reasonable price. Even though it took four weeks to be delivered from Asia, the investment was worthwhile, since the sheet also provided some useful low-viz stencils.
The VAT-127 “Zentraedi Busters” unique tail insignia was more complicated, because these had to be printed at home. As a side note, concerning the fin marking, I recently found a translation of the benchmark profile's text on mahq.net, which is interesting: "The Regult within the targeting reticle on the tail met with disapproval from micronized Zentraedi pilots, and so was only used for a short time." The comment also reveals that the original aircraft's modex is "713", not just "13" as depicted, so I tried to reflect these details on my build, too.
I eventually settled for a solution that was partly inspired by the kit’s OOB fin marking and the wish for more contrast for the motif: I scanned the original Regult pod illustration from the source book and printed it on white decal sheet. This was sealed with two layers of glossy acrylic varnish (applied with a rattle can) and then cut into a white field that fills the fixed part of the fin (using the WAVE kit’s OOB fin markings as reference). Once in place and dry, two black outlines were added separately (generic decal material) which help blend the decal and the surroundings. Finally, thin strips of silver decal sheet were used for the fins’ leading edges.
This design variation, compared with the original “13 Red” illustration, led to the idea of a flight leader’s machine with slightly more prominent markings. In order to take this concept further I also gave the aircraft a white stripe around the front fuselage, placed under the kite roundel and again with black outlines for a consistent look. It’s not much different from “13 Red”, but I think that it looks conclusive and, together with the white fin markings and the missiles, livens up the VF-4’s look.
The appropriate flight leader tactical code “01 Red” was puzzled together from single digits from a Begemot Su-27 sheet, the rest of the bort numbers were taken from the OOB sheet (which incidentally feature a “01” code, too).
Concerning the OOB decal sheet, there’s much light but also some deep shadow. While the register is excellent and the carrier film flexible enough to lay down smoothly, the instructions lack information where to place the zillion of stencils (“No step” and “Beware of Blast” stuff) are to be placed! You only get references for the major markings – the rest has either to be guessed, OR you are in possession of the VF-4 source book from Softbank Publishing which was (incidentally?) released in parallel with the WAVE kit. This mecha porn offers an overview of all(!) relevant stencils on the VF-4A’s hull, and ONLY with this information the exhaustive decal sheet makes some sense…
As final steps, the VF-4 received some dry-brushing with light grey around the leading edges, some chipped paint was simulated with dry-brushed aluminum and, finally, light soot stains around the vectoring nozzles all around the hull and the weapon bays were created with graphite. Then the kit was sealed with matt acrylic varnish (Italeri).
Parked vehicles in Barrington village meant we could not replicate the classic scene of an H&C bus passing the Royal Oak PH, now renamed the Barrington Boar, with the former H&C garage site in the background. However, we did have a go and this was the best we could get with YYB 118 obscuring a car whilst possibly operating the above journey from Taunton to South Petherton. In 1958 the Taunton to South Petherton service operated from Monday to Saturday by way of Henlade, Wrantage, Fivehead, Curry Rivel, Langport, Curry Rivel, Drayton, Hambridge, Westport, Barrington, Shepton Beauchamp, West Lambrook and Compton Durville with a double run being made over the Curry Rivel to Langport section.
Whilst working on the restoration of former Hutchings & Cornelius of South Petherton August 1957 delivered Harrington bodied Dennis Lancet UF type YYB 118, we often talked of “when we take YYB back home to Somerset”, well now we have. Based upon the 1958 timetable, we went in search of locations which depict the six services in operation at that time. Certain sections of the roads traversed by H&C were and still are extremely narrow and as we did not wish to undo six years of restoration work in a single day, some of the more accessible locations were chosen.
Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 26, 2018. BLM photo: Matt Christenson
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...
ENGLISH
These images show the unboxing and setup of the MakerBot Replicator 2 personal 3D printer.
SVENSKA
Dessa bilder visar uppackningen och igångsättning av MakerBot Replicator 3D-skrivare.
The size of the Makerbot Replicator prints is a game changer - this baby is 15x15x10 cm. And no, the Ritz cracker wasn't 3D printed.
Here's the kid brother: Horn0016
Almost 10" tall print - 248mm to be exact - my tallest MakerBot print by a mile. I think I can go to 255 total now? Custom Replicator case increases build height by 100mm.
The cut files on Thingiverse for the Replicator case ( www.thingiverse.com/thing:18813 ) are NOT right, and not the files used for production. The Mightyboard has moved, so I needed to 'edit' my case with a dremel.
Lombard style bell tower illuminated.
The church of Our Lady of the Assumption is one of the most beautiful Romanesque churches Brionnais and one of the most interesting of Romanesque Burgundy by the quality of its carved decoration and its harmonious proportions.
The building, with its height two-story relates to the ancient architectural tradition of Burgundy. It is the antithesis of architectural principles illustrated in Cluny III.
The church plan
The church of Our Lady of the Assumption is, classically, facing east, toward Jerusalem.
Its floor plan replicates that of the church of Charlieu and recalled the ties between the two monasteries founded in the Carolingian period. The main vessel is a three-nave of five bays under edges. The transept, salient, is to arm with oriented apses. The whole forms a Latin cross. The choir and transepts are crowned by a series of five apses behind. This plan offers a picture perfect in its simplicity and in the rightness of its proportions.
Construction is medium blond limestone unit, uneven and grouted. Unlike the masonry of the apse and transept, compared to that of the nave, recalls that the church of Anzy-le-Duc was conducted in two campaigns, from the mid / late eleventh and early twelfth.
Outdoor Architecture
South side of the church, the corbels that support the entablature cornices are almost carved.
The transept and the main facade is highlighted by their stilted gables.
The bell tower
The church of Our Lady of the Assumption has a remarkable octagonal tower novel.
The elegance of this tower makes it one of the most beautiful Romanesque bell towers of Brionnais. Its high silhouette give slenderness to the entire building. Its octagonal building decorated with three floors of Lombard arches recalls the Romanesque bell towers of northern Italy.
It is decorated with the three upper floors of twin arched windows separated by pillars and topped with Lombard bands.
The western façade has a remarkable portal whose lintel, the eardrum and the archivolt double arch have a very rich sculptural decoration.
The eardrum dated twelfth. The church of Our Lady of the Assumption in three had originally. Today, one of them is located in Hiero Museum Paray-le-Monial. The eardrum visible on the building face Christ in glory in a mandorla. He sits on his throne. The mandorla is a symbol of rebirth, is supported by two angels with wings and whose feet are anchored to the ground. This iconography symbolizes the return of Christ on earth, to the end of time to judge the living and the dead.
The lintel is the scene of the Ascension.
The badly damaged lower arch as well as the four capitals, the 24 elders of the Apocalypse, crowned head, holding in his hand a cup and harp, celebrating the glory of the risen Christ. The 24 elders represent the 12 prophets and patriarchs and the 12 Apostles. They symbolize the meeting of the Old and New Testaments. This image is from a vision of St. John described in the Apocalypse.
The moldings were restored.
The sculptures were hammered during the period of the French Revolution.
The south facade
The south portal of the priory tells the story of the salvation of mankind. Tympanum represents the Adoration of the Magi and the Original Sin. The architrave shows the punishments imposed on the damned in hell, and its left end, a brief allusion to the heavenly Jerusalem. Figures could include the influence of the workshop Gislebertus Autun, although their flexibility departs somewhat from the impetuosity which characterizes the sculptures of the Saint-Lazare Cathedral of Autun. The style is much cruder. Perhaps we there see the hand of an artist who spoke at the Church of Neuilly-en-Donjon, located on the other side of the Loire.
The bedside
Like the second abbey of Cluny, the church of Anzy-le-Duc has a bedside level with five apsidal chapels.
interior architecture
The nave [change | modify the code]
The church of Anzy-le-Duc is regularly oriented.
The architecture of the nave is two stories with large arcades surmounted by tall windows.
The bays of the nave bear groin vaults separated by arches that give rise to simple architectural lines and great harmony. The quality of vaulting demonstrates the skills mastered craftsmen and architects. This bias construction is found in other Romanesque churches of Burgundy, including Vezelay. However, there is not here this momentum verticality that will characterize the buildings have adopted the principles of Cluny III. The vertical and horizontal lines are balanced to generate a feeling of peaceful serenity.
The capitals of the nave date from the eleventh. They are among the earliest examples of this form of typically Romanesque art.
They are carved mostly from plant or animal motifs are of great aesthetic value. There are approximately forty of which a head of cattle, Daniel and the lions, an acrobat, an angel fighting a demon, Samson controlling a lion ...
Saint Michael fighting the devil. He guards the entrance of Paradise. In its shield, the monstrous devil planted his trident, the handle and the right arm holding the were broken (3rd pillar to the left, entering the nave).
This scene could be the man, attached to the right, however, must fight against physical forces or the forces of evil. Nu (nudity in Roman art can represent the innocence of origins), he clings with both hands in the ring that forms the basis of capital. The ring is a symbol of a branch of the tree of life in Genesis. Two monstrous snakes to interlaced rings are preparing to bite his torso and heel. (2nd pillar to the left, entering the nave)
This capital, located on the 5th pillar to the left, entering the nave could illustrate the theme of the quarrel. Two figures evil their tongues, classic iconography in Roman art of lying, slander or insults. The lie is generating conflicts and wars. In the left corner of the tent, two characters kiss: a reconciliation? a hypocritical gesture as might suggest the two heads like monkeys. The monkey wants to imitate the man as the devil tries to imitate God. The monkey is a symbol of heresy, paganism, of all that is false, anything that distracts man from his likeness to God.
Here, in contrast, the most recent works it is possible to see in Autun and Saulieu, the block formed by the marquee itself is not entirely hidden: include seem like stone applied on their support. Yet we already discern a principle of composition which will remain true Burgundian sculpture submitted to the architectural structure of the capital, the figures of angles resume the role of ancient scrolls. They announce the development of the Cluny sculpture twelfth.
The choir
The choir is composed of a span with aisles that end in the apses. It extends an axial central apse and chapels.
The choir, vaulted cul-de-four with frescoes, and the transepts are crowned by a series of five apses behind. The octagonal cupola on tubes.
Two capitals, almost symmetrical, represent two majestic eagles with outspread wings. They open your eyes wide and yet set the rising sun. At the top of the wings, is carved a swastika, ancient Hindu symbol of the sun spinning. The eagle symbolizes the soul that rises above the vicissitudes of earthly experience. That is the spiritual equivalent of the temporal power of the lion. The eagle is the opposite of the snake, chthonic animal. It symbolizes the soul that rises to the Light, to Knowledge as the eagle, king of birds can fly in / from the sun. It is the oldest capitals of the church (circa 1050).
The murals are of medieval origin but were heavily restored in 1850 by a painter of Drill, Jean-François Maurice. The vault in this cul-de-four Ascension. The risen Christ joined his Father in heaven. Standing, surrounded by an oval glory, he blessed the people of believers. Two angels are for 12 Apostles and three holy women remained low. They say, "Men of Galilee, why do you stand looking into heaven? This Jesus who comes to you be taken to heaven, will come in the same way that you saw up there. " Under this Ascension in four areas bounded by pilasters, are represented the symbols of the four evangelists: the angel, emblem of St Matthew, the bull for Luke, the lion of St. Mark and the eagle for John. These four figures were the haloed head and holding the holy book, ie the Bible. Under the angel symbolizing St Matthew Letbald is shown. It was the lord of Anzy-le-Duc, who, in 876, donated his land to the Benedictine monks of Autun. Opposite, under the eagle of St. John, was his wife slope, Altasie.
The crypt
Recent excavations have rediscovered the crypt, clearing a passage of stairs from the north transept. This crypt dated eleventh century served as a burial place to Hugues de Poitiers. It is one of the Christian shrines preserved among the oldest of all the brionnais country. MM. of Canat and Surigny, made the plan of the crypt and worked in the study of sculptures and murals, the date is not earlier than the twelfth century.
It communicated with the church by two staircases that had come together in a single release in front of the choir. The vault is supported by pillars, two gray breccia from the broken barrel of an ancient column, whose base was still visible.
In 1576, the tomb of Hugues de Poitiers is desecrated by Huguenots. The body is thrown into the fire and the ashes scattered to the winds.
The crypt was decorated with frescoes of which only a fragment.
wp
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
Somewhere in Bedford County, Virginia--not far from the Blue Ridge Parkway
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
The MakerBot Digitizer 3D-scanned Laser Cat model was used in this test of different layer thicknesses. The cat was scaled down to 50 mm in height and then 3D printed at the following layer heights:
- 0.40 mm (400 microns)
- 0.30 mm (300 microns)
- 0.20 mm (200 microns)
- 0.10 mm (100 microns) - Average width of a strand of human hair
- 0.05 mm (50 microns)
- 0.02 mm (20 microns)
All six cats where 3D printed on a MakerBot Replicator 2 with TRUE BLUE PLA plastic at 230 degrees C.
All layers where 3D printed with MakerWare's standard values as follows:
(400 microns) - 15% infill - perimeters 2 - speed 90 mm/s
(300 microns) - 15% infill - perimeters 2 - speed 90 mm/s
(200 microns) - 15% infill - perimeters 2 - speed 90 mm/s
(100 microns) - 15% infill - perimeters 2 - speed 90 mm/s
(50 microns) - 15% infill - perimeters 2 - speed 60 mm/s
(20 microns) - 15% infill - perimeters 2 - speed 40 mm/s
---
The 3D scanner: bit.ly/1a7y8hG
The 3D printer: makerbot.creativetools.se
The 3D model: www.thingiverse.com/thing:146265
Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 26, 2018. BLM photo: Matt Christenson
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...
This small device traps dust in a small sponge before it enters the extruder. In some cases it can also be used to easily lubricate the filament just before it is extruded.
The adapter is designed to fit the Replicator (1) and Replicator 2 extruders.
Protecting your 3D printer's extruder from foreign particles is an important part of keeping the machine maintenance-free. This adapter makes it easy to keep the filament clean.
1 - Download the STL file
2 - 3D print it as is with standard medium or fine settings
3 - Cut two small pieces of sponge and place them into the filter case
4 - Close the case with the lid and two standard 3 mm screws
5 - Unload the filament from your Replicator 1 or 2
6 - Remove the filament guide tube
7 - Insert the loose end of the filament into the adapter.
8 - Make sure that it passes through the sponge and slides smoothly
9 - Insert the adapter into the Replicator's extruder hole
10 - Insert the filament guide tube into the top part of the adapter
11 - Enjoy hours and hours of dust-free 3D print extrusion
Check this Youtube video for more information:
Every now and then open the adapter and check the sponge for dust. Replace if necessary.
In some cases filament can jam or cause uneven 3D prints if the friction in the extruder's filament tube is too high. This adapter can also be used to lubricate the filament just before it enters the extruder.
creativetools.se/makerbot-replicator-1-2-filament-dust-filter
Let's see:
- Minimalistic MK8 Extruder (Dual): www.thingiverse.com/thing:28241
- Beefed Up Replicator Extruder Bracket: www.thingiverse.com/thing:33589
- (Unofficial) Replicator XL Case: www.thingiverse.com/thing:33265
- Replicator HBP Support Upgrade: www.thingiverse.com/thing:35059
- RepXL Panels and Doors: www.thingiverse.com/thing:33269
- Replicator 3mm Hood and Cover: www.thingiverse.com/thing:23386
Probably some other things I've forgotten.
During OHM2013, we tested printing a Minecraft model on a MakerBot Replicator 2. Turned out much better than we had expected! The model was exported with Mineways with the standard size of 2mm per block (edge length). For the print, it was resized to 60%.
Zulu Head Carrying Lesson at Shakaland Village Shaka Zulu Kraal Cultural Replication of a Zulu “Umuzi” or Homestead Normanhurst Farm Nkwalini Kwazulu-Natal South Africa May 1998
The 3D model: www.thingiverse.com/thing:69491
The 3D printer: makerbot.creativetools.se
For more information creative-tools.com
Clashing Knights. Jousting. Maryland Renaissance Festival. Sep/2016
Jousting is a martial game or hastilude between two horsemen wielding lances with blunted tips, often as part of a tournament. The primary aim was to replicate a clash of heavy cavalry, with each opponent endeavoring to strike the opponent while riding towards him at high speed, if possible breaking the lance on the opponent's shield or jousting armour, or unhorsing him. The joust became an iconic characteristic of the knight in Romantic medievalism.
The term is derived from Old French joster, ultimately from a Late Latin infare "to approach, to meet". The word was loaned into Middle English around 1300, when jousting was a very popular sport among the Anglo-Norman knighthood. The synonym tilt dates ca. 1510.
Jousting is based on the military use of the lance by heavy cavalry. It transformed into a specialised sport during the Late Middle Ages, and remained popular with the nobility in England and Wales and Germany throughout the whole of the 16th century (while in France, it was discontinued after the death of King Henry II in an accident in 1559).[1] In England, jousting was the highlight of the Accession Day tiltsof Elizabeth I and James I, and also was part of the festivities at the marriage of Charles I.[2]
Jousting was discontinued in favour of other equestrian sports in the 17th century, although non-contact forms of "equestrian skill-at-arms" disciplines survived. There has been a limited revival of theatrical jousting re-enactment since the 1970s
The Maryland Renaissance Festival is a Renaissance fair located in Crownsville, Maryland.
Source: Wikipedia
Justa é um desporto jogado por dois cavaleiros com armaduras montados em cavalos. Consiste numa competição marcial entre doiscavaleiros montados, usando uma variedade de armas, geralmente em grupos de três por arma (como a inclinação com um lança, os golpes com machados, ou os golpes com a espada), entre outros, muitas vezes, como parte de um torneio.[1]
A justa foi um jogo marcial na Idade Média, sendo necessário ter uma habilidade muito grande para praticar este desporto. Embora o primeiro torneio foi feito em 1066, a justa não ganhou popularidade generalizada até o século XII. É mantido o seu estatuto como um desporto popular europeu até ao início do século XVII.
A justa foi incorporada em torneios vários séculos após a sua estreia. O torneio permitiu uma melhor exibição da habilidade individual e, embora perigosa, ofereceram grandes somas de dinheiro do prémio. Muitos cavaleiros fizeram a sua fortuna com esses eventos, enquanto muitos perderam a fortuna ou mesmo a vida. Por exemplo, Henrique II da França morreu quando uma lança do seu adversário atravessou a sua viseira e a quebrou em fragmentos, cegando o olho direito e penetrando na sua órbita direita e têmpora. 1. As Justas eram disputadas entre dois cavaleiros, convenientemente revestidos de pesadas armaduras e protegidos por escudos especiais.Eram torneios realizados em terra plana, onde os combatentes tinham de ter uma boa preparação física e as suas armas bem preparadas. Eles empunhavam pesadíssimas lanças de ferro.
Fonte: Wikipedia
I've always really wanted to replicate the panneling and guards compartment within an old maroon mk1 composite carriage so here it is so far.
Purists should look away now!...this build is possible legitimately if doing a brown and cream version, but as the windows and 2x4 shallow curves are not available in dark red, I've had to use stickers to re-colour them.
The closet match to the dark red I could get in vinyl was more maroon than dark red (ideal for what I wanted, but not ideal for colour matching to other bricks!) , so alas all external bricks in the build have had to be re-coloured :|
As this is a "for me" build, I can live with it especially as I'll also at some time be building green urban versions too!
During OHM2013, we tested printing a Minecraft model on a MakerBot Replicator 2. Turned out much better than we had expected! The model was exported with Mineways with the standard size of 2mm per block (edge length). For the print, it was resized to 60%.
ENGLISH
These images show the unboxing and setup of the MakerBot Replicator 2 personal 3D printer.
SVENSKA
Dessa bilder visar uppackningen och igångsättning av MakerBot Replicator 3D-skrivare.