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zoot_woodbook2014_tech [2014/12/16 22:22] Craig Goldsmith |
zoot_woodbook2014_tech [2015/02/02 05:20] (current) |
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- | Troy gave me the idea for the hinges. These were done 2mm apart, as a single cut line on the cutter, i.e., the width of the slots is the width of the kerf of the cutter. Originally, I had designed a hinge where the slots were actually ovals, about 1.75mm wide. This gave me precise control over the width of the slot – but doubled cutting time on. Between the slots and the engraving, wanted to get time per piece down to less than 45 minutes. I also tended to get embering and flareups on the hinges w/more material removed. Certainly setting cut order element by element would prevent that, by allowing the wood to cool down before a neighboring slot is cut. | + | Troy gave me the idea for the hinges. These were done 2mm apart, as a single cut line on the cutter, i.e., the width of the slots is the width of the kerf of the cutter. Originally, I had designed a hinge where the slots were actually ovals, about 1.75mm wide. This gave me precise control over the width of the slot – but doubled cutting time. Between the slots and the engraving, |
- | In any case, the kerf at the bottom side of the cut is narrower, so I brought the speed way down to cut the slots cleanly on both sides in pass. Details about power settings are at bottom of this post. | + | The kerf at the bottom side of the cut is narrower, so I brought the speed way down to cut the slots cleanly on both sides in one pass. Details about power settings are at the bottom of this post. |
- | The wood material is the 24" x 24" luanne brand plywood | + | The wood material is the 24" x 24" luanne brand plywood |
- | These were engraved double sided by locking the raw material into the cutter and engraving and cutting the fronts sides completely. The pieces were then flipped within their cut outlines and the back sides engraved. This gives you relative registration within the kerf of the cutter, so say, 1-2mm. This presumes | + | These were engraved double-sided by locking the raw material into the cutter and engraving and cutting the fronts sides completely. The pieces were then flipped within their cut outlines and the back sides engraved. This gives you relative registration within the kerf of the cutter, so say, 1-2mm, and presuming |
- | This is made much easier by manually | + | This is made much easier by manually |
- | For this project, the front and back version of the file both have that same reference element. It's the left-most, lower-most element | + | All vector software (like Adobe Illustrator, |
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+ | This origin point of the bounding box is the blue dot/circle that shows the " | ||
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+ | For this project, the front and back version of the file both have that same reference element. It's the left-most, lower-most element. By definition, LaserCut will " | ||
The art was created in Adobe Illustrator, | The art was created in Adobe Illustrator, | ||
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Images were prepped in Adobe PhotoShop. Generally, I convert source material to grayscale, where I'll perform aggressive color corrections to bring out the details that might suitable for engraving. This grayscale version is then converted to bitmap, usually in the 600-1200dpi range. Depending on the nature of the image I may allow a dither or mezzotint into the bitmap conversion to simulate " | Images were prepped in Adobe PhotoShop. Generally, I convert source material to grayscale, where I'll perform aggressive color corrections to bring out the details that might suitable for engraving. This grayscale version is then converted to bitmap, usually in the 600-1200dpi range. Depending on the nature of the image I may allow a dither or mezzotint into the bitmap conversion to simulate " | ||
- | Cutting was done in X layers, in this order. The reason for cutting the slots and engraving last is those take the longest, and this way I could see if the rest was OK before committing to possibly trashing the material. The art and text would have looked better had I gone to a higher scanline, but again, that would have driven the cutting/engraving time through the roof. | + | Cutting was done in six layers, in this order. The reason for cutting the slots and engraving last is those take the longest, and this way I could see if the rest was OK before committing to possibly trashing the material. The art and text would have looked better had I gone to a higher scanline, but again, that would have driven the engraving time through the roof. |
Settings are shown in speed/ | Settings are shown in speed/ | ||
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* final piece outline - cut - 10.1/100 | * final piece outline - cut - 10.1/100 | ||
- | The three images below show the exported front/back files and the " | + | The three images below show the exported front/back files and the " |
The fly image used in the actual project isn't really this low-rez, but this is what it looks like post-conversion, | The fly image used in the actual project isn't really this low-rez, but this is what it looks like post-conversion, |