simonmcp

It is possible to have items printed in resin that has some flexibility to it and so would be less susceptible to damage. If buying the resin for home printing it is a little more expensive, I don't know if the commercial printers charge much more though.

I went on a Cornwall Railway Society trip with Ivor Bowditch as our guide, we went in a 52 seater coach down a clay pit. Also stopped for a Guinness and Pasty lunch, handsome. Were not allowed to photograph the loaders at Carn Point due to the dust, they were a bit touchy on that subject.

Or do what they did at Uxbridge. http://www.disused-stations.org.uk/u/uxbridge_vine_street/index1.shtml I think your Coal Merchant's office is really great and I think using your skills to 'make' it in Tinkercad are just as valid as someone hacking plasticard to scratch-build one. I really appreciate you taking the time to go into detail about where to place items and how you create them. Keep up the good work and don't listen to the nay-sayers, they are only hoping you'll get rid of it in their direction.

Being a graphic designer and society magazine art editor (posh name for dogs body) I do know a little about UK copyright law. I don't know anything about any other countries copyright law though. In the UK copyright of any visual work is in the actual piece of work, it precludes the reproduction (copying) of the exact image in whatever form (there is very complex case law about how much alteration is needed to make it not an exact reproduction). So if you have an original plate negative you can, after copyright has elapsed, make and sell copies. What you can't do is reproduce an image that has been generated by someone else from a copy that they possess, or a scan of a book or an image from the internet, especially one with a watermark. That is obviously a gross over simplification, as with most laws the copyright one runs to countless impenetrable pages of mind numbing complexity. I agree though that there are a lot of companies out there who are using scare tactics to try and make people pay for images that are also in the public domain (just don't reproduce their copies as that is against UK copyright law). I personally am not going to name any of them because I know people who have been sent rather large bills by them.

Hi Chris, there are some great tips on the 3d printing forum on RMweb. One thread is all about resin printers and has some tips about orientation which apparently is crucial for getting consistent results. Sorry I am on my phone at the moment so can't put a direct link.

I think the pin hole is supposed to be where you put the lamp that lights the weighbridge in the gloomy winter. Of course I could and probably am totally wrong.

If you really want to feel like a 'Dummy', just buy one of their books. I taught computing and I gave up trying to understand all of their books long ago.

I would cut off the supports sooner rather than later as I believe the resin gets progressively more brittle with age.

Apparently, I may have been told in Art College - I was a little distracted by the young ladies so my memory of that time is a little hazy, I think portrait painters use olive drab under flesh tones. Haven't tried it myself yet (I left Art College in 1981) and I think it may only work under oil painting.

The military modellers are very fond of 'pre-shading'.

Having worked in print since 1982 I feel somewhat qualified to answer your question. Sadly I doubt it's the answer you want. At one company I worked for we had a £14,000 proofer that was supposed to be a perfect match to what would be produced on the 4 colour offset lithography presses. It wasn't. The colours that will be furthest away from the RGB when converted to CMYK will be dark or deep greens and browns. I am not sure whether you know but C stands for Cyan which is a fairly light blue, M is Magenta - almost pink and of course Y is Yellow - a quite acid shade and fairly light. Because each of these colours are light the only way of producing deep colours is to add in an amount of B - Black. This usually just makes the colour Muddy. I wish I could give a solution but as you have found it is a compromise. You can get programs such as Photoshop to approximate the conversion on screen for you but it will always be different as a screen uses light and the printer uses pigment. Always convert the image on screen, in your photo editing software, to CMYK which should give a better approximation of the printers output. Also as mentioned in another thread there are Colour Profiles to consider and it is best to stick with one throughout the process (you may find one that your printer uses). You can buy Six Colour, colour printers that get closer to the true colours but even with a colour calibrated screen what you see on screen is never going to exactly match what prints out of any printer no matter how expensive. Another thing that can affect the perceived colour is the resolution of the screen and printer. Most, if not all, screens are lower resolution than the printer. Although what most people quote as the "dots per inch" on an inkjet or laser print are actually "lines per inch", it is only "halftone" pictures that are made up of dots (on low quality newspapers you could almost see the dots without a magnifier). This difference will also account for some of the colour variation. Sorry to not be able to give you a more positive answer and a solution. One thing I do, because I have Photoshop (other photo editing programs should have the same facility), is do a test print and tweak the colours to try and match what I want to get out of the printer. Your photo editing software should have what is known as a "colour picker" to show the CMYK values at any given point in an image. Not very scientific and it's trial and error, but will get you closer to an acceptable result. Be aware that laser printers will give different results from inkjet ones as well so try and stick to the same screen and printer throughout the whole process. I wouldn't waste much money on fancy screens or calibration devices though. They may seem to get closer on some colours but will probably be further out on others. Another thing to be aware of, and it's just happened on my screen, is if you have a 'blue light filter' that comes on after a certain time, that will massively affect your on-screen colours. Simon

Same as Cornwall, tis often Soft, and the rain is usually at least 45degrees. Wouldn't live anywhere else though.

There is a section of stone blocks on the embankment West of Lanner in Cornwall which was maintained by the Cornwall Railway Society. Pictures should be on their excellent website.

Try sticking them to a low tack double sided tape onto a cutting mat. (The editor won't seem to let me put the explanation after the quote)

'Painting' the lettering should be no problem. Paint the whole sign the background colour, then use whatever; cylindrical, relatively nonporous item you have to hand (insides of till rolls are good), paint it with a smooth thickish coat of the paint you want the lettering to be in and then gently roll it over the lettering. This should then coat the lettering with a layer of paint, just like a print roller.

Unless you've already attacked the old doors, you could always just raise the rest of the building by 2mm to clear the rail tops. I can't find a picture at the moment, but quite often the track looked to be slightly lower than the yard around. The GWR would have sidings slightly lower than the running lines to help prevent runaways onto a running line.

I was brushing my varnish on, so maybe if sprayed it wouldn't wash the colours out of the inkjet prints. Incidentally I found that some sheets printed on a colour laser printer were not very well fused to the paper and the toner came off when brushed with a stiff paintbrush. I think if you look for Exterior varnish then that is usually not water based. Otherwise check out the section (if it is on the website) about cleaning the brushes out after use, if it says use thinners or whitespirit then it should be okay.

Just make sure the varnish is not water based, found that out the hard way.

Wrong information, so post removed.

Learning how to work your way out or back from an error is a very valuable piece of knowledge. It is 'Relatively' easy to do something if you don't make any errors or "get stuck" but having the means to move past an error is the difference between wanting to learn more or giving up in frustration. So as others have said, please leave in those sections where you recover from an error. You are amazingly generous with your time and skills, thank you for doing these tutorials.

Hi Pacific231G, do you have a link to the supplier of these kits please?

I don't know if Chitubox has 'Adaptive layers' in as an option as if it does that would give that effect.

Surprisingly there was a pure water spring near where we fished and I suppose that kept the water clean enough for the voles to survive. We certainly drank the water and didn't seem to come to any harm.

I hope you're going to have at least one "Ratty" or water vole lurking in the edge in some reeds. There was always one in the canal bank near where I used to fish.

The Mark 1 Golf is fine though. The posters are nice as well, again a nightmare to get everything in a precise date. I sympathize with your desire to educate the exhibition goer but as you say there eventually becomes a limit to what you can do.