In order to get the most out of the sculpting features while also increase productivity, it’s normally a good idea to begin using custom brushes. In order to install these tools, you’ll need to do the following.
After downloading the .zip file, extract it and place it in a location that will be easy to find. If you’re using one of my mine VDM kits, they’ll be both a PDF user guide along with the .blendfile. Open up a new scene and go to File+ Append. Locate the .blend file and click Append. Open the brush folder + select the brushes that you want to use in your file. Most creators will add a unique name that will make them stand out from the default one’s. In my PDF guide, I’ve included a Brush summary sheet along with Variations, so you can import only the one’s that you will need. In order to use a brush, the proper tool must be selected before clicking on one of the new one’s. Using the middle mouse, it’s now easy to scroll through the icon list once the images have finished loading. In order for the brush to work properly, the mesh will require enough resolution and will need to either have a multiresolution modifier applied, or be using the dyntopo at the correct resolution.
In the next guide, we’ll go over how to remove any unwanted brushes to clean up the interface.
Notes and Recommendations
Pixelated or rough looking results = normally means that the resolution isn’t great enough to achieve the desired level of detail. Try either increasing the brush size or increasing the mesh resolution
Increasing resolution = can be done using either Dyntopo or a Multiresolution Modifier
Dynopo = better for rough shape sculpting, but will need to be re-meshed afterwards if it is to be used for animation
Multiresolution = better suited for animation and additional details
If you’ve been 3D printing for a while now, you may want to look into creating your own supports native within your modelling software.
This type of workflow is great for instances where you’re working with similar products that have minor changes to them rather than individually unique items. Within a production setting, this workflow can become a powerful asset once you’ve passed the initial development stages. While it is true it can take a while in the beginning, often this makes for a more efficient workflow process for post-processing, and finishing work.
The easiest way to do this is to take information which was established from the automated supports, and carry these over to the 3D software. Before doing anything, you’ll need to ensure your 3D model is at the proper scale within the software, since this will make the values more accurate. The main information you’ll need for this is your layer printing height, initial bottom layer count, upper diameter for your connection point as well as the middle diameter for the pillars. I’ll be using Blender, which is a free open source software, but this information will apply to anything similar, whether it be for animation or CAD.
My custom keycap designs are a great example of this implementation, since they were all very similar and only contained slight modifications. For these models, I created a rectangle that was the total thickness of my initial bottom layers. Using my upper diameter information, I created supports which were this thickness, making sure to place these along the base of the model. It’s very important that, while doing this, to include gaps that will act as drainage holes. These gaps will help relieve any pressure build up that can be created due to the suction forces. Once printed, all of these supports could easily be removed with the use of a simple prying tool or sanded off until I reached the base of the key-caps. These were the final results that I ended up with, and they worked like a charm.
A larger scale example was the wolverine claws that I designed for a client. In this case, I created a base that would be easily to cut off after the print completed. This saved me a bunch of time in is my post-processing, since I only needed to really worry about the softening of the one edge of the model. Now although I did sand everything to ensure that they weren’t any layer lines, if this was for a rush project I still had the option of going straight to the painting process if I needed to. So, although it normally takes quite a few test prints to ensure that such supports will be successful, this is where utilizing some of the built-in slicer features can be helpful. In Chitubox and other slicers, often problem areas will be highlighted, so previewing the model first will give you a better idea of where to place such supports.
Another added benefit of doing this workflow, is that it can help influence the model design to help ensure that minimal supports are needed to begin with. My baby ghost design is another great example where this is the case. Compared to the original design, which would have required much more supports, the final versions require little to none as a result of how the mesh was modelled.
A lot of the finished products I make such as my collectors coins, necklaces and rings all use these techniques, and it greatly reduces the amount of time that I personally spend on post-processing. During a tight deadline, this means that I can normally finish a product within a couple of hours to within a day after the printing has completed. But what about the controversy of printing your models flat on the build plate? Well, we’ll go over that in an upcoming video.
Important Notes
Ensure proper scale
Layer printing height x initial bottom layers
Pillar upper diameter (min support thickness)
Pillar middle diameter (max thickness for supports reinforcements)
So you have the proper support settings, but now that you’ve set everything up, how do you approach adding supports to your model?
Automated and manual supports both have their own use cases, but these will depend on the resin and the type of model that you’re using. It’s also important to know when and where manual supports might be necessary.
The main focus of adding supports is to ensure that the model stays attached to the build plate during the printing process, while preventing any distortions within the model itself. In order to achieve this, all islands,overhangs or areas which aren’t attached to the build plate require a support structure. For larger prints, these will often need to be hollowed out to reduce waste. Many newer slicers today use a highlighting system to help draw attention to these areas which will require supportive materials, but this doesn’t always catch every instance.
While slicing software has improved greatly in terms of generating automatic supports, there are certain limitations which are still true today. Large overhang areas tend to have supports in unoptimized areas, and a lack of additional supporting material for the supports themselves.
A main area of concern is the overhangs that cover larger distances, since these are more prone to warping, especially during the first couple of layers. Normally even with automated supports, they do not include enough in certain regions, so these will need to be touched up prior to printing. In most cases, lining any hard edges and corner’s with additional supports should be a major focus, since any warping along those edges will be noticeable in the final print.
Tall and narrow support material tends to be a common issue with automated supports, and these will need to be reinforced to prevent them from bending or failing entirely. Luckily, it’s fairly easy to address this using one of two methods. Either the support pillar diameter can be increased or additional supports can be added to the pillar itself to increase its rigidity.
Placement of automated supports in relation to the model itself can be a tricky issue to address. For highly detailed models where supports need to overlap, there can be issues with these being generated too closely to the model itself. When a model is hollowed out, something in the internal supports can prevent drainage holes from properly draining resin. In most cases, these will need to be moved out of the way. This becomes especially prevalent when a resin is more elastic and prone to bending.
While manually adding supports allows for a greater amount of control over the end product, this can be a time-consuming endeavour. Very important to take into account, is the fact manual supports need to be double-checked for any missed regions and therefore using a validor can aid in this process. For highly detailed projects, I do find that adding manual supports allows me to better control the final product, whereas for more simple projects the automated supports tend to get me 95% of the way done. So while automated supports isn’t a perfect solution, it does provide a good starting point from which to work from.
If you’ve been doing 3D printing for a while now, you’ll probably want to check out my more advanced video, which covers how to model custom supports within a 3D modelling software.
In today’s article, we will focus on customizing our settings to get the best results from our resin prints.
Orientation, size and surface area all play an important role in a successful print, but each of these often depend on the type of model you have and the resin being used. It’s very important to first establish proper exposure settings for the machine, since this affect the results of the calibration. I personally prefer to use Photonsters Validation Matrix 2 for my preliminary calibration, and I will include a link in the description below. It prints quite quickly and allows me to get results fast. If at all possible, it’s generally recommended to print with a colour that’s easily readable, since this makes it easy to gage the results. I generally always start with the manufacturer’s recommended settings, then incrementally increase these or decrease them until these two points are just barely touching. I will also aim to make sure that as many of these lines are printed as possible.
Some slicer’s offer a variety of saved settings for different use cases, and these will be important to set up properly before even adding them to your model. In Chitubox for instance, you can choose between your light, medium and heavy supports and these can vary quite a bit depending on the use case. In order to determine what settings to actually use, especially for the model contact points, you could do it the long way or use a model that’s similar to Amerlabs. This model is great for figuring out the support thickness for the smallest of supports, as well as their connection lengths. Amerlabs has included a great guide on how to use their calibration test, so I’ll include this link as well. Once you’ve figured out which dimensions worked best for your specific resin. You can then begin creating your custom support settings. Seeing as the most difficult settings tend to be for small miniatures, we’re going to focus on these for now.
To start things off, we’ll adjust the bottom exposure number, since this is quite often is too high. I’ve found that in most cases I only need to have one to two bottom layers, so long as I increase the bottom layer exposure time. To find out what this should be set to, you’re going to refer to that initial test where you printed the validation matrix. I normally add between 5 and 10 seconds to this initial bottom exposure time to help ensure proper adhesion. For the medium and heavy support settings, I’ll normally go with the standard recommendations since they require more rigidity.
We’re then going to take the number for the layer height and use this to calculate the platform touch shape thickness. For small prints this normally only needs to be a 1 layer, but for larger one’s I’ll use 2 to 3 times that initial thickness (layer height x bottom layer count). Generally, the heavier the support that I need, the thicker I’ll make this, so it remains rigid enough not to bend or break. You can see in this example the differences between my different types of support.
The connection point’s Upper diameter will depend on the results of the Amerlab’s test. I normally go slightly higher than the first successful pillar dimension, which is between 0.1 to 0.5 mm. The lower diameter for the connection point will be the same as the thickness of the pillar, however some users choose to reduce this number. I normally set the connection length just under the first successful test, just to be safe.
The pillar shapes have to support the model and remain rigid enough not to flex while printing, so in this case I normally air on the side of caution. I normally go slightly above double the thickness when compared to the “Upper diameter”. This helps ensure that the pillar will have a lower likelihood of flexing during the raising and lowering of the build plate. When setting up my heavy supports, I’ll set these fairly large, since I normally use those when I’m printing props. Models such as those tend to be quite heavy, and the last thing I want is for a print to fail or fall off.
When using automated supports, I’ll normally have these set to above 90% with an angle percentage of 35%. With the basic settings for your supports, it’s now time to implement these with your first prints, and you can see that process here.
