Alan_LSWR

As the resin is very toxic I decided to build a combined fume & containment box and spray booth. The white panel on the left fits into a window. The silver box is my UV box (see below). The interior is covered with melanine which I picked up at £1 sheet from a surplus place. It was difficult to source compared to the 70's when I last bought some. The low front wall makes a containment box in case the resin spills. The paint filter panel on the left inside is removable for when doing 3D prints. The top clear perspex folds up and the front clear perspex is held by magnets. There is an LED panel in the top. The 3D printer goes on the right inside the unit. The 6-gang extension socket on the wall on the right feeds through the wall to the garage where there is an UPS so long prints are protected against power failures or glitches. The fan is not explosion proof so for safety I should not use IPA as it is 90% alcohol but it will be OK for spraying acrylics. I'm on the look out for a used explosion proof fan. The fan is controlled by a electronic speed controller (not visible). If I did it again I would make it a bit shorter as it's quite heavy. The unit folds down for storage. Now you can see the LED panel. I haven't got the hinge arrange quite right so the top doesn't fold completely flat. It was quite a challenge finding suitable hinges especially when I didn't know the search term - I now know they are called cabinet cupboard pivot hinges. Here's the UV box. Only view the following photo with UV safety glasses It's made from a cheap bread bin that started to disintegrate when I converted it, so it needed a good dose of hot glue sticks. The self adhesive LED strips would not stick so they also needed hot glueing as well. The small grey box contains an electronic timer that also drives the turntable. Flowers are optional

As indicated above, I new to 3D printing but in my research I've come across huge difference in curing time from under minute to your 1 hour. With my small items I cured them for 3 minutes and they seem hard enough. I read that too much UV can make items brittle. I also read that once washed with alcohol the items should be placed in water and then cured under water. This stops oxidation which is an inhibitor to curing. I have 5L of distilled water so I shall use that next time. I used the semi-transparent green resin that came with the printer and I've read that coloured resins like grey need more time, but logic tells me that if they are a solid colour then UV rays will not easily penetrate. A quick google shows that 405nm UV used for curing is near to visible light compared to 200nm which is near to x-rays. Other articles say UV light whilst dangerous to the skin does not penetrate very far below the skin surface.

Hi. Just purchased a SIlhouette Portrait 2, in part encouraged by this great post - thanks JCL and Mike Trice. Not making any progress so far. First the PC wouldn't recognise the Portrait until I discovered it worked in a USB2 and not a USB3 port. Then SIlhouette Studio - latest version v4.2.471 - popped up a message that it detected the Portrait but then I couldn't clear the message! I've been in contact with SIlhouette America but due to the time zone differences it's taking time. Their first response was in typical MS style: uninstall the software and delete all remaining files (lots) and reinstall. As expected made no difference. Oh, I did not install Bonjour as I've no Apple devices and bad experience of Bonjour in the past. Also it opens up ones firewall! I told them that I didn't install it and they haven't said it's essential. I looked at the option for driving the Portrait direct from Inkscape. I found 2 options: EtherGraf and fablabnbg. Both are on Github and with both solutions the Window installation is more complex and involves Python compiling. They both use libusb0.dll. Fablabnbg points to http://zadig.akeo.ie/ to install this but I hit a brick wall as zadig doesn't find the usb driver for the Portrait. It seems earlier versions of SIlhouette Studio has a separate Windows USB driver on the CD for the Portrait but the latest version doesn't have a CD and the downloaded version doesn't include it. In fact SIlhouette America have an FAQ that says it is no longer needed - seems to have the "driver" built in. That doesn't stop Windows trying to find a driver and eventually giving up. I asked SIlhouette America if they can provide the driver and if it will work with the Portrait 2 but they ignored my question. One option is to somehow get the driver (hint ) and try it! Has anyone with the Portrait 2 managed to drive it directly from Inkscape? Thanks for reading this long post asking for help. EDIT. Just got a reply from SIlhouette America Still maybe worth a try but obviously new functionality like the auto blade may not work. They have still ignored my question about the popup message re the "Portrait being detected" not clearing. Anyone with a Portrait 2 can tell me if there is a way to clear it. I tried escape but no good. You can see there is no close button.

Good spot Mike. I've just read the Read Me and confirms: 1. This software updates the user interface that is separate to the firmware, so it should be compatible with the anti-alias firmware upgrade. 2. This mod is officially cleared by Anycubic for installation and use and will not void the machine warranty but is not supported by Anycubic. It is reversible. 3. It enables ethernet connectivity. One needs to open the access panel at the back. One has to Chitubox v1.4.0 (or newer) as this has a print to IP address. Ethernet is useful and avoids the need for the other solution which was to use a Raspberry Pi to implement USB over Ethernet.

Thanks Jeff. Don't hold your breath Are you a member of the Gosport Railway Society? I do have the occassional email with their chair, Peter Keat. Looking at their website http://grsupdate40.blogspot.com/ I'm most impressed that they have their regular meeting organised right through to April 2022 - yes 2022, about 54 events. I know many a club struggling to organise a speaker for next month!

Hi. First post! I've just done my first test prints with the AnyCubic Photon, printing mostly horizontally and vertically. The vertical prints were fine, here's an example of a column about 60mm high and 10mm square at the base: I'm very pleased with this and it's production ready (I need 13 of them). I checked with a square and it's perfectly vertical (the photo is misleading). However, most of the horizontally printed items were bent, including the same column. My theory is that they bend when using the spatula to remove the items. I found I was stabbing at the end of the prints which then popped off the plate. However the printed items are still relatively soft and my guess is that the ends bent before the forces eventually caused the rest of the print to break free. These are cornices and are clearly bent. They are 7mmx4mm in cross section. These items suffered from a white deposit. I read this is due to washing too long in IPA. Next time I will try slicing them off along the length. I surmise a metal spatula will get them off easier but that may scratch the plate. This little lamp is about 5mmx10mm. It needs to be printed in another orientation to avoid the infill. Aim is to insert an LED. Everything was printed with the default settings. I'm quite pleased with my first attempt but find the slicing software rather clunky and suspect I shall get frustrated using it. Designs were done in Fusion 360.

Brief History of Gosport Station The London & Southampton Railway (L&SR) open a line in 1840 between these two places, with the London terminus being at Nine Elms. They then proposed a branch line from Bishopstoke (now Eastleigh) to Portsmouth (Portsmouth Junction Railway). However, Portsmouth objected to being on a branch line, especially one with the name Southampton in it, and wanted to be on a direct line from London. Despite the L&SR changing its name to the London & South Western Railway (L&SWR) the town would not budge. So the L&SWR then proposed a branch to Gosport (Portsmouth Branch Railway), passengers then taking a short ferry journey to Portsmouth. When the Act of Parliament was going through the Commons the military insisted a clause be included giving them final approval over the design. This was because they feared the railway would compromise the defences of Gosport and the Navy’s victualling yard. William Tite (later Sir) was the L&SWR architect. He proposed a two storey building immediately outside one of the town’s two entrance gates and just yards from the moat and ramparts. The military objected but themselves got into an internal argument as to whether the station should be inside the ramparts (the only space being parade grounds) or 600 yards further away. Meanwhile the L&SWR commenced building! Eventually the military decided to push for a single storey building and that the building should incorporate a parapet with 6 foot walkway for soldiers to take up position, along with an outer wall surrounding the station with loopholes for shooting through! Later they amended this to iron railings to stop the enemy (the French!) from taking up positions behind the wall. Meanwhile building continued with Tite accommodating most of these demands. When the demand for changes kept coming the L&SWR demanded a meeting of lawyers from both sides. The lawyers agreed that the Act did not compel the L&SWR to incorporated any defensive features, but merely not to compromise the existing defences. The station opened in 1841. It cost more than any other station on the L&SWR including Southampton and Nine Elms. Ironically, the owner of a nearby pub, seeing a business opportunity with the opening of the station, leased some land from the L&SWR and built a three storey hotel right next to the station! [The military even asked the L&SWR to stop the hotel building – the response was something like “on your bike”!] (c) Alan_LSWR In 1844 King Louis Philippe visited Great Britain, landing at Gosport and taking the train to Farnborough, accompanied by Prince Albert. A week later they and Queen Victoria returned to Gosport by train. The Queen and Prince then went on to Osborne House on the Isle of White for a holiday. They liked it so much that they bought the small Georgian house and then demolished it and built the Osborne House we know today. Queen Victoria then decided to use Gosport as the departure point for visiting the IoW. However, not liking the horse carriage ride through the town, and the gawping crowds, she got Prince Albert to have a word with the Navy. In 1845 an extension line was built out of the station, over the road, across the moat and through the ramparts! Then within the victualling yard the Queen had her own private station built adjacent to the jetty. In 1848 a joint LSWR & LBSCR line is opened to Portsmouth and then in 1858 Portsmouth got its Direct Line. Thereafter Gosport's lost it's prominence but coming to life again during the two World Wars, though the line must have been beneficial to the Navy for delivering stores and equipment. In 1906 an electric tramway provided a faster, more frequent and more convenient service from the ferry landing point to Fareham, so passenger number further declined (other than troop trains). In WWII the station was hit by an incendiary bomb and was 90% gutted and not rebuilt. Passenger services stopped in 1953 and goods in 1969. Gradually the ruin buildings fell down and trees grew up within the former station accommodation. In 1973 Hampshire County Council (HCC) purchased the station and goods yard for development of social housing but before they could demolish the station in 1975 it was listed Grade II. Wikimedia (cc) CC BY-SA 2.0 by Regenittey Various schemes were put forward, some harebrained, to reuse the station. Occasionally vegetation was removed and stabilisation work undertaken. In 2005 HCC held a competition to save the building with the winner buying the building for a £1. The winner was Re-Format Architects who spent £5m restoring (nay rebuilding, nay resurrecting) the station as affordable housing. Wikimedia Michael Coppins - Own work, CC BY-SA 4.0 They did a pretty fine job. No overall roof but they did include the end fascias. They also included the arches abutting the platforms. In the early days of the railway, many carriage doors were lost (and no doubt a few passengers as well!) on these arches and they soon replaced them with cast iron pillars set back. Two pillars survived until the rebuilding. If I had known they were not to be included I would have asked for them for the garden!

Gosport c1910 is a Scalefour model with a scale track plan. I cannot recall why I chose Gosport other than it was LSWR but the building is interesting architecturally and operationally it had an extension into Clarence Yard, the Navy’s victualling yard. Also, it was within a reasonable travel distance to survey. Design The track plan was is mainly based on a 1919 LWSR plan with elements from an 1893 plan, both obtained many years ago from the engineers department at Waterloo. This has now been drawn in Inkscape using 15 layers to record different aspects. The physical model is 5.1m long, half being 750mm wide and half 435mm wide shown red below. The fiddled yard is additional off to the left (west). This doesn’t quite accommodate all the essential elements so later I may have the extension boards shown in lilac. The reason for this shape was dictated by the size of the hall in our previous house. The main station building is similarly drawn in Inkscape, where I traced the drawings submitted during a planning application in 1995. Some architectural features are drawn in Fusion 360 for 3D printing. Build The baseboards were constructed about 30 years ago using a ply box construction 80mm deep and topped with 9mm fibre board, possibly Sundeala. A unique feature is that the boards are stored vertically in pairs and pivot about a midway point with the “legs” swinging out. This was to store them in an alcove in the hall. Photo below is one of the wider boards temporarily propped up and joined to a narrow board. Quite a bit of track was made using the 'Brook Smith' system and I will continue with this method. A mock-up of the station building has been made using pre-printed card (printed from the Inkscape drawings) overlaid on double layer of 3mm foam board. This was to test using foam board, to check all the vertical heights and general fit of the 4 elevations, and to get advice on the roof construction from an architect friend. Architecture The station style is Italianate. It has a 13 column colonnade (probably Portland Stone), a lot of stucco, cornices, large Georgian windows and tall chimneys. The overall train shed is topped by a continuous vent/skylight. As these features will be challenging to build I have just bought a resin 3D printer. First prints are encouraging. Here is a column that is about 60mm tall. I’ve also ordered a Silhouette Portrait cutter to cut out all the arches and windows. Forum posts by JCL on the Silhouette Cameo Cutter and Mike Trice on the Silhouette and 3D printing have been very useful. Control Following the high tech theme, I plan to use DCC. All points, signals and lighting will be controlled by Raspberry Pis, one on each board connected by Ethernet cables to a master Raspberry Pi and controlled by a tablet (a virtual signal box). I’ve dabbled in Home Automation and MQTT so I think this will work. Other Models I know of only one other model of Gosport, built by Geoff Alcock and author of “Gosport’s Railway Era”, the first definitive work on the railways of the Gosport peninsular. His OO model was set in 1930s. When he died the model went to the Gosport Museum. A few years ago it was loaned to Fareham Railway Club for restoration. The next post is a brief history of Gosport Station.