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zoot_woodbook2014_tech [2014/12/16 22:30]
Craig Goldsmith 		zoot_woodbook2014_tech [2015/02/02 05:20] (current)
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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 "tone". However, I've only seen that kind of detail show up if engraving in material that shows detail very well (fine grain hardwood or acrylic) and if you really commit to the time it takes to engrave at scanlines upward of 600dpi. 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 "tone". However, I've only seen that kind of detail show up if engraving in material that shows detail very well (fine grain hardwood or acrylic) and if you really commit to the time it takes to engrave at scanlines upward of 600dpi.
  
-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/power: Settings are shown in speed/power:
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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 "working" master art. The reference point is the blue circle at lower left of both pieces. I tried to upload a PDF with the vector art, **but the wiki wouldn't let me upload a pdf (??).**+The three images below show the exported front/back files and the "working" master art. The reference point is the tiny 1mm circle at lower left of both pieces. I tried to upload a PDF with the vector art, **but the wiki wouldn't let me upload a pdf (??).**
  
 The fly image used in the actual project isn't really this low-rez, but this is what it looks like post-conversion, (especially to the engraver!). You can see in the body where the original grayscale tone translated to a stochastic pattern that is still just black or white pixels only. The fly image used in the actual project isn't really this low-rez, but this is what it looks like post-conversion, (especially to the engraver!). You can see in the body where the original grayscale tone translated to a stochastic pattern that is still just black or white pixels only.