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http://1.1.1.3/bmi/i1080.photobucket.com/albums/j332/SubtleDiscord/2015%20WIP%20Photos/Chaos_Weapon_Platform_02_1.jpg

 

 

Am I the only person who looked at the autocannon rapier and thought of this

http://i.dailymail.co.uk/i/pix/2014/09/03/article-2741513-2102157B00000578-742_306x211.jpg

That makes me want some even moar!!!!

Edited by SlaveToDarkness
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So, lets have a closer look. As seen in the 'Today in the Hobby I...' thread, here's the latest sneak-peak at some workbench progress.

 

http://i1080.photobucket.com/albums/j332/SubtleDiscord/2015%20WIP%20Photos/Raider_Siege_Ram_03.jpg

The Siege Ram blade mould turned out fine, but the mould for the chassis link components needed a re-pour.

The dozer blade/siege ram looks great, but whose land raiders can still equip it?

Edited by Quixus
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So, lets have a closer look. As seen in the 'Today in the Hobby I...' thread, here's the latest sneak-peak at some workbench progress.

 

http://i1080.photobucket.com/albums/j332/SubtleDiscord/2015%20WIP%20Photos/Raider_Siege_Ram_03.jpg

The Siege Ram blade mould turned out fine, but the mould for the chassis link components needed a re-pour.

The dozer blade/siege ram looks great, but whose land raiders can still equip it?
imperial landraiders of the Prometheus, Helios, proteus and I believe achilles patterns can all take ten according to imperial armour 2 second edition.
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And lets not forget the all-powerful Rule of Cool. As long as you're not trying to cheat, exploit, or confuse, some extra bling on a center piece model like a Land Raider isn't unreasonable. In this case, this kit will only fit on the GW plastic Land Raider kit, so with some cosmetic changes to make it loyalist, it would easily fit on the Promethus and Helios. It still seems strange to me that they would remove the option from Loyalists and I suspect it might trickle down to Chaos with the next codex, and that would naturally be very unfortunate. But even if it doesn't do anything in the end, it looks great and I feel it really completes the model.

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It was asked in another corner of the interwebs exactly which printing method I used, and what steps I take for my surface preparation; it seems something worth sharing here as well.
 
Yes, everything was prototyped in Frosted Extreme Detail at Shapeways. Most high-end 3D printing companies I found were boasting a 25nm-per-layer process, but Shapeways new Frosted Extreme uses a 16nm-per-layer process. At the scale I'm going for, every little bit helps, and even at 16nm there are still surface issues that require addressing. But even with those issues, the level of detail in the prints is astounding. If you follow their design guidelines for the material it will faithfully replicate even the tiniest details that are 0.1mm tall/wide/deep; however, 0.1mm is the absolute limit and I found that keeping details to at least 0.25mm to 0.3mm to be perfect. For example, the thinnest layering I would do would be 0.25mm tall (in some rare situations, maybe 0.2mm or 0.15mm) so that the edge is reasonably pronounced, but still subtle. The best size I've found for small rivets is 0.3mm in diameter; large enough to be properly pronounced, but small enough to fit even tiny locations.

I am still researching alternative printing companies (Suggestions from readers are most welcome) that can achieve the high quality results that my standards demand, and isn't obscenely expensive. But most I've found use a process that require the addition of support sprues in plastic which need to be considered and then removed once the print is finished. While Shapeways process has some drawbacks with the wax-support method they use, the advantages of being able to print multi-part items and not have to deal or worry about supporting sprues is quite nice.

Prepping for mould making was an interesting learning curve. As I've mentioned, in many cases the frosted surface is not really a problem for surface quality, (paint should hide any slight 'grain') but it is a rough texture that has more surface area to bond with the rubber during curing. In tight locations with fine details that can easily tear the rubber during de-moulding. So, I simply use all of the studio tools I've collected over the years to sand and refine the surface. The key tools are sanding sticks, fine sanding points, my Grobet jewellers files, some metal sculpting tools, and a selection of pins for really tight cracks. All of these are used to sand and burnish the surfaces to remove the topmost layer of 'grain' and smooth/refine the surface; it will remain frosted and matt, but have a smoother finish. The material is extremely hard (and reasonably brittle) and it works well for this process; once the offending surface material is remove, and you hit solid plastic, it is very obvious. With a light touch it's almost impossible to go too far and do unwanted surface damage. Depending on the amount of frosted surface you're dealing with, and just how detailed the object is, it can take quite a bit of labour, but for a casting prototype it's worth it.

The final step is to be sure to oil tear-prone areas with deliberate care. When I did my first moulds I was generous with the mould release and even took the time to really get it in the nooks-and-crannies, but it wasn't enough. Those details need to be surface prepped (to smooth the surface as much as possible) and a thicker layer of mould release added by brush. I've taken to spraying a small amount of Mann Ease Release 300 onto a pallet, picking that up with a brush, and applying it were needed. This oils the area much more and produces a notably shinier surface that will release the rubber much more readily. NOTE: Once the master prototype is out of the mould and you are casting in polyurethane plastic (aka: resin) the part with free itself from the mould much easier, and special care is not required anymore.

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I don't think I've ever really heard anyone talk about this process so it's really interesting to hear. Sounds like the creative freedom comes with more than a few caveats, but I do believe it's worth it, seeing that ram and the gun platform. I love that those were completely conceived, designed, printed and duplicated by you alone. It's one hell of an achievement, sir. No joke. Edited by JeffTibbetts
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It's a real eye opener to find out how much prep goes into professionally made moulds. Really need to up my game now I have a bit more insite into the prep side of things. Thanks for posting these updates and mini guides!!!
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Thanks for your comprehensive discussion of the whole print/casting thing. I'm going to be doing something similar for my own use once I get a new workshop, so it was really helpful. Did you see any printing lines in your models? I also ordered Extreme Detail, and still had some very obvious lines on flat surfaces :-/

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I will do another update to talk more about surface quality now that I have a broader selection of cast parts in hand. Even with these parts, it's hard to say what the final results will be with a few layers of paint. But until then, I'm so pleased with how the Chaos Rapier is turning out, that I just wanted to leave this right here...

 

n13m02q.png

∙ Initial production results of the Ectoplasma Cannon have proven to be very positive; manufacture may commence.

 

There's still one small complication in manufacturing the chassis on this kit that's causing some minor flaws, but I'll elaborate on that when I have more time and pictures to explain properly. Some honest feedback will be appreciated.

 

Edited by Subtle Discord
+++ Image Data-link ∙ Repair +++
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You know what I love about this that I haven't seen mentioned? Your signature style is all over it. This could easily be something you actually scratch built, and nothing was lost in translation to your digital skills. Seriously, I have absolutely zero criticisms or items of feedback. It's flat out amazing what you're doing with this stuff.
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And lets not forget the all-powerful Rule of Cool. As long as you're not trying to cheat, exploit, or confuse, some extra bling on a center piece model like a Land Raider isn't unreasonable. In this case, this kit will only fit on the GW plastic Land Raider kit, so with some cosmetic changes to make it loyalist, it would easily fit on the Promethus and Helios. It still seems strange to me that they would remove the option from Loyalists and I suspect it might trickle down to Chaos with the next codex, and that would naturally be very unfortunate. But even if it doesn't do anything in the end, it looks great and I feel it really completes the model.

Even if we do loose it in the next dex it looks badass. Would look mint on my Deathguard Landraider, I imagine a fleet of Iron Warriors tanks would look stunning

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Thanks, as always, for all the kind words and positive feedback; I really wouldn't be where I am without the energy I get from Legion Rising. There's so much I want to write about, but still much to do. So I'll just leave this here for now...

 

eZDcOhh.png

∙ Initial production samples have passed inspection. Assembly lines for the Conversion Beamer are now operational. Praise be to the Dark Mechanicus!

 

Edited by Subtle Discord
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Ok then, I’ve been out of the studio for most of the weekend so I haven’t been able to do anything hands-on; but I’ve had a computer, lots of prepared photographs, and some time in the evenings to be able to write. So, I’m going to do a few articles and some general musings about various things. I’ve been asked several questions in various corners of the interweb and had so many comments I’d like to reply to, that I’m just going to ramble and comment/answer to everything across said articles.

First up, a little hobby how-to; I was asked recently if I could take a photo of my pressure chamber and vacuum chamber setup that I use for casting, and I figured I could do one better. Recently I put together a new pressure chamber and was aware enough to remember to take progression photos of the process so I could show the steps involved.

However, before I get started, I just want to remind people that this device can be extremely dangerous if not properly assembled and no shortcuts should be taken when building something like this. If you do not have the correct tools/parts on hand to do this kind of project properly, do not attempt this! During my research, I’ve seen examples online that are essentially bombs waiting to go off, because people try to make do with improvised solutions to problems. Do this right, or just don’t do it. Pressure is a tool, and some tools can be dangerous if you do not show proper care and respect.


ym1j3WY.png
∙ A ‘Power Fist’ (Gotta’ love that brand name) brand Paint Pressure Tank along with various fittings that will be used during assembly.

In Canada our equivalent to Harbour Freight is called Princess Auto, and that is where I purchased the Paint Pressure Pot that I used for this assembly; this tank has the added benefit of including a 1/4” hose and a 3/8” hose along with the pictured pressure regulator. This is definitely a ‘made in China’ product in quality, but its job is simple so that’s not a huge deal. Notice that this tank has a working pressure of 50psi and a max pressure of 80psi; it is highly recommended to stay within the working pressure range of any tank you use. With hoses included you only need a selection of NPT (National Pipe Threads) to complete the assembly; note that NPT fittings are used because they are tapered and become air-tight as they tighten down. The selection of fittings shown here is more than I used in this assembly, but what is required might be different depending on the Paint Pressure Tank used.

One key pair of parts to note are the valves; be sure to get good quality high-pressure ball valves. Lesser valves will struggle to hold the kinds of pressures that will be used. These valves are rated for 600 psi, so they will do the trick.


2TrG5d8.png
∙ First up, the Regulator needs some modification before it’s ready for its new life pressurizing curing plastics.

This Paint Pressure Tank splits the compressed air between the tank and the hose used to spray the paint, and that won’t be needed for its new life. First I removed the connector for the secondary hose and replaced it with a brass plug. Note that I have secured the regulator in a vice to keep it secure during the removal of the connector; all of the pieces are secured very well at the factory and you want to keep those seals enacted if you can.

I use LokTite 242 to secure the fittings. The product is intended to secure nuts and bolts so they don’t loosen due to things like vibration, but it also works well to seal the joins airtight as well. You’ll want to be liberal and add a fair amount to the threads to ensure a good seal; once you’re done fastening the pieces in place some extra LocTite oozing out of the join will be a good sign that you’ll get a good seal.


atVlcjM.png
∙ Now one of the valves needs to be added to the regulator to control the compressed air input.

With the provided fittings in place, it’s a simple matter of adding the valve and then adding a male quick-release fitting for connecting the hose. With that, the regulator is ready to go.

b5wIfMR.png
∙ How everything attaches to the chamber will be key; clearance must be considered so that the closing clamps can work as intended.

In this case, I wanted to point the exhaust vent upward to keep it as compact as possible, so I simply added a 90-degree elbow to the provided fitting before adding the second ball valve. A top-down photo shows the kind of layout you’re looking for; reasonably balanced in weight and with good clearance for the closing clamps. A thick pad of cloth is secured over the valve to reduce the harshness of the sound when the pressure is released.

dBkHY7j.png
∙ Two final simple steps complete the transformation from a Paint Pressure Tank to a Casting Pressure Chamber, from boring to downright sophisticated.

This first step I really should have done before attaching any hardware to the lid; it’s much easier to do when there is less bulk on the top of the lid to deal with, but I overlooked it in the rush to get the hardware together. Put simply, you need to remove the pipe that would originally be used to feed paint from the tank to the spray hose. By hand, I was unable to break the seal they archived on this pipe to properly remove it, so I used a rotary tool with a cut-off wheel to chop it off.

A final step is to add a 90-degree elbow fitting to the vent that will direct the pressurized air into the tank. The air will be entering the tank at such high speed that any exposed liquids (in the form of uncured resin or rubber) could splatter and spray. The likelihood of this being a large problem very often is small, but it doesn’t take much to direct the air towards the wall of the chamber so it can be deflected as it enters.

In the end, this 50psi pressure chamber cost about $200 CAD to put together including all of the fittings, valves, shipping, and taxes. Not exactly cheap, but not over-the-top expensive either, and more than enough to have a profound impact on the quality of casting a hobbyist might be doing. In comparison, and because I was asked about both my Pressure and Vacuum setup, these are the other contraptions I use in my humble studio.


WiTC8E2.png
∙ To the left is a Rotokinetics Vacuum Chamber and beside it is a Casting Pressure Chamber rated for 80psi; plus a photo of all of the misfits in a row.

Vacuum Pumps are expensive, so to start I choose it purchase a Vacuum Chamber that has a solid-state vacuum pump that is driven with compressed air; this chamber lets my compressor do double duty powering both pressure and vacuum processes. While I strongly feel that pressure is a better first step for someone looking to improve casting quality, adding vacuum to the mix can really improve casting further.

Note the difference in build quality of the 80psi Pressure Chamber that I put together; this is a made-in-the-USA product and it shows, but it also cost more than double to build than the 50psi chamber. The additional 30psi does have a modest impact on further reducing bubbles in casting, so I use this chamber as much as I can for high-detail objects, and it has me wanting to put together a chamber that can handle 120+psi just to see how far it can be taken. At this point, most of the bubbles I deal with are so small that I don’t think much more than 120psi would be needed to get near-perfect casts almost all of the time. But for now, I can make excellent progress with what I’ve managed to assemble so far.

On a related side note, pressurizing the rubber for moulds during curing will have the same bubble-eliminating effect (I very good thing) but anything over 40psi should yield the same results; bubbles in mould rubber appear to get ‘absorbed’ more readily than in resin.

And with that I’ll say, stay tuned for some studio transparency and another look at my workbench. While many things are working out well, I have come into a few snags that will impact quality in some rare cases, and a few issues that will require redesign and/or reprinting that will cause a few delays. Initial stocks of the Chaos Rapier (new name to be determined shortly) are ready, but I want to get some honest feedback from the people who really matter regarding some of the final small issues I’ve run into.

Keep the radio of your PipBoy tuned to this station, and Please Stand By…

(Fallout 4, when you arrive, you will ruin my life for a short while)

 

Edited by Subtle Discord
+++ Image Data-link ∙ Repair +++
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