Dec. 21, 2009 - Showcases Powerful Laser Marking Solutions for Manufacturers at Westec 2008

york lasers Offer High Quality, Speed, and Precision for Marking Industrial Materials for a Broad Range of Manufacturing Needs

YPISLANTI, MI - March 17, 2008 - york laser, Inc., a leader in laser cutting, marking, and engraving solutions, today announced that it will showcase its laser marking solutions for the manufacturing industry at WESTEC, March 31-April 3 in Los Angeles, CA (Booth #2249). york laser offers a full range of lasers to support industrial product marking for a wide variety of manufacturing needs, with top speeds, precision, quality, and durability. Among the laser solutions on display at the york laser booth will be the FP100, an entry-level laser ideal for marking metals that combines two advanced laser technologies in one, and the SpeedMarker FL, a compact, galvanometer-based fiber laser.

"Manufacturers across a range of industries have recognized that laser marking offers a faster, more precise way to add bar codes, serial numbers, and logos on materials that need to withstand harsh environments - whether it be an automobile or medically implantable device," said Mike Rauch, Vice President of Sales & Marketing for york laser, Inc. "york laser offers a diverse product line to meet these unique needs, with laser solutions that ensure abrasion-proof, fraud-protected marking that is thermally- and chemically-resistant to ensure longevity, sterility, and compliance for the duration."

york laser's entry-level solution for laser marking, the FP 100, is a flatbed, gantry-based laser using a pulsed fiber laser source, combining two leading-edge technologies to deliver the highest speed, flexibility, and quality. Materials supported include bare and coated metals, untreated and coated plastics, electronic components, type plates, and more. The FP 100 is the fastest laser in its class thanks to york laser's unique high-speed ramp-up control, capable of greater than 6.5 feet/sec at a maximum resolution of 1000 ppi.

york laser's SpeedMarker Fiber Laser (FL) is a compact, galvanometer-based fiber laser system. Offering high-quality laser marking for industrial products, it is virtually maintenance-free and supports marking "on-the-fly" for moving parts. SpeedMarker FL's state-of-the-art fiber laser ensures the highest accuracy, reliability, performance, and longevity, featuring superior beam quality with top speeds up to 1000 characters/sec. It integrates seamlessly into existing assembly lines, or can be used as a standalone solution. SpeedMarker FL works perfectly for marking all types of metals, annealing steel, and effecting color changes on plastic.

york laser offers a wide range of laser solutions to deliver precision marking for industrial manufacturing, all featuring the best warranty on the market and personalized support from an experienced team of laser professionals.

WESTEC presents manufacturing & metalworking technologies used in the production of world-class products. Sponsored by the Society of Manufacturing Engineers (SME), American Machine Tool Distributors' Association (AMTDA), and The Association for Manufacturing Technology (AMT). WESTEC is expected to attract manufacturing professionals ranging from company executives to production engineers. Members of the press interested in scheduling an appointment at the york laser booth for a briefing and/or demo, please contact Ilana Zalika, 732-266-5219, ilana@madetomarket.com.

About york laser, Inc. Since 1998, york laser is a global leader in high-quality, custom laser solutions for marking, cutting, and engraving across a range of industry applications, with satisfied customers in over 90 countries. With offices around the world, the company's US headquarters in Ypsilanti, MI are home to a dedicated sales, marketing, and support team. york lasers exceed the industry standard in quality, performance, and reliability, featuring unmatched speed and accuracy, low maintenance, and parts that are proven to last longer - backed by the best warranty on the market and personalized service and support. For more information.

About SME The Society of Manufacturing Engineers is the world's leading professional society supporting manufacturing education. Through its member programs, publications, expositions and professional development resources, SME promotes an increased awareness of manufacturing engineering and helps keep manufacturing professionals up to date on leading trends and technologies. Headquartered in Michigan, SME influences more than half a million manufacturing practitioners and executives annually. The Society has members in more than 70 countries and is supported by a network of hundreds of technical communities and chapters worldwide.

Dec. 21, 2009 - Introduction to Hand Engraving

Hand Engraving can be described as the process in which a hardened, shaped, and sharpened piece of steel, called a 'Graver', is pushed through the metal's surface. This is done with one of three methods: by hand pressure (push graver), with a small lightweight hammer and chisel (graver), or with a pneumatic air-driven hammer. Pneumatic AirGravers emulate both the hammer and chisel and the push-graver technique. The graver is ground to a pointed shape adhering to very specific angles. These angles allow the graver to properly enter the metal surface and  travel forward, continuously curling the metal directly in front of the graver face, while leaving behind a small furrow.

The shape of the graver and the angle at which it is held will ultimately decide the furrow shape. The angle can and will often be continuously altered during the process, allowing for the furrow to contain thick and thin graduations of the cut line. If a square-shaped graver is used so that one if its corners enters the metal, it will produce a "V"-shaped furrow. Many graver shapes are available, each leading to a particular style of engraving, and each producing a different result. Usually, the two favored shapes are the "V" and the flat gravers. Personal preference plays a significant role in choosing the tool used.

When using the hammer and chisel method, both hands are required; one to hold the graver, and the other to deliver light hammer impacts against the graver, driving it forward through the material being cut.

With the push graver method, the graver is generally fitted to a small wooden handle held in the palm. The graver remains stationary, and the item being engraved is held firmly and fed into the graver's tip, or rotated into it when a circular or curved line is desired. When making a straight line, the graver is pushed forward using only hand pressure. Each of these methods requires a rotating vise, or a similar holding device, to hold the item being engraved.

The pneumatic graver uses air to drive a small self-contained piston within a graver hand piece. This piston impacts against the engraving tool in the same fashion as in the previously described hammer and chisel method. As with the Push Graver method, one hand is free to hold and rotate the item being engraved.

In order to create quality detailed engravings, the engraver is required to accurately execute many cuts or lines in the metal that vary in length, width, and depth. In principle, the results achieved are similar to those produced by an artist when sketching with pen or pencil on paper. Spectacular ornamental engravings are possible when the graver is controlled by someone who is well versed in the art of engraving.

Use of advanced methods, such as 'Bulino' and 'Bank note' techniques, allow the highly skilled artist, the potential to produce exquisite, lifelike renderings in metal.

'Bulino' (pronounced - 'bo-lee-no') - refers to a Pointillism or Dot Technique. It is derived from the Italian term meaning "a small hand held graver". Today the term is used loosely to represent the method of creating thousands of small dots or lines in the metal. This enables the control of light and dark contrasts.

'Bank note style' is a highly organized and systematic method of creating thousands of individual lines, varying in length, in order to form beautifully detailed renderings or ornamental designs. It is generally seen on pages of older texts such as, family Bibles and similar period works of literature printed from engraved plates. The closest and most common representation of this technique in the present may be seen on paper currency.

An artist's ability to visualize where and how each cut should be placed determines the final outcome of the project. When an engraving artist possesses a talent for visualization, as well as theoretical and technical knowledge, he or she will be able to invest the engraving with richness, character, and even emotion.

Tool geometry and the manner in which the graver is shaped, particularly the face and heel angles, will also determine the quality of an engraving. The ability to perfectly grind and shape the graver must be mastered, otherwise clean, accurate, burr-free cutting will not occur, and the results will be unsatisfactory. Badly raised burrs tend to produce visually jagged or distorted lines, resulting in a rough, unrefined final product, rather than the smooth, clean results professionals can produce. If the engraver applies too much downward force while cutting, or the graver heel is too long or too short, burrs will be raised - especially when executing curved lines. A long heel will create drag, and a short heel will dig too deeply into the metal. Either way, the metal will be forced upwards, generating a burr along the length of the cut.

It can take years to fully master the technical portion of hand engraving, and to become proficient in design and in the historical study of engraving motifs. Only then can one begin to develop a unique and personal artistic style. However, some students of this art may possess a natural talent, which allows them to master the process more rapidly.

Mastering the Art of Engraving requires expertise in several areas. These can be divided into two categories: art and craft. Engravers engaging only in craft need not possess drawing and design skills to produce excellent engravings, providing that designs are supplied beforehand by either an artist or by replication of available ornamental patterns. Many copyright-free (public domain) ornamental designs are available to help the craftsman in this area. The first and foremost ability a craftsman need possess, then, is the ability to precisely control the graver, with an understanding of the technical skills required in order to achieve the desired results.

However, in the case of engraver as an artist, he or she must have an intense desire to create beautiful original designs, which depends upon a background in other arts, together with artistic drawing talents. The art of engraving itself can be a fulfilling medium for an artist to express his art, and can become a life-long study.

The basic method of hand engraving has not changed for centuries. However, with the advent of modern tools, today's engravers are given advantages that previous engravers did not have at their disposal. Computer technology allows the use of photo editing or vector-based drawing programs, thus facilitating the design process. Using computers and printing technologies, an artist can now successfully and accurately lay out a design from the computer onto the item being engraved. Modern pneumatic gravers are available in the same size as the graver of old, allowing ease of control of the graver cut.

Artistic Design Concept
Before beginning the engraving process, the engraver must visualize a design concept, and view the item to be engraved for its shape, its period styling, its value, materials, and contours. There are many things to consider. If the engraving is for a customer, certain boundaries or limitations may arise to suit the customer's price and taste.

Preparing to Draw the Design
The item being engraved must be accurately outlined. This can be achieved using a variety of methods. The simplest method is the smoke print. This method involves using the smoke from a kerosene lamp, candle, or equivalent to cover the surface with carbon smoke "inking". The item is held high over the flame so as not to heat its surface. This is important when the item contains non-heat resistant materials. Another outlining method is to use printer¡¯s ink over the area. Once the surface has been blackened by smoke or printer's ink, clear tape is delicately placed over the area. When the tape is removed, the smoke or ink remains on the tape, creating the exact shape of the item. An accurate outline is next traced to be used as the design boundary lines. Another method is to use frosted tape laid over the surface, then trace the item's shape with a pencil. This method is less messy, but will take a little longer. In either case, a clearly drawn outline is the base for the beginning of the drawing process.

Creating the Final Design
Assuming a design concept has been determined, the next step is to make rough sketches. Sketching continues until the artist has achieved the theme's desired flow. Refinements are slowly introduced, while maintaining the initial feel of the art work. Imagination, creativity and familiarity with engraving styles are important factors. The more time spent creating a design to achieve exactly what is envisioned, the better the final product will be. This also holds true for the quality of the drawing; the better its quality, the better the reproduction will be when reduced to scale for image transfer (layout of the design onto the metal).

Designs may also be drawn directly on the item, thereby bypassing many steps. This is possible when a familiar style of engraving is used that has been drawn and cut many times by the artist, or if the engraving is of a less complex design. It is usually best to plan the design on paper, allowing the revisions of drawings at any time prior to the actual engraving process. There are many methods for transferring the design or layout onto the surface that is to be engraved. One is to scratch the design on to plastic mylar which is used to make an ink or smoke print transfer. Another method is drawing with soft lead pencil on mylar, and pulling the lead up with tape, eventually transferring the lead from the tape. A third method is photographic transfer, and a fourth is done with a laser or inkjet computer printer.

The Technical Aspects of Engraving
When the design has been transferred onto the metal, the engraving process may begin. The most commonly used graver point is the square "V" cut graver, which works well for a variety of engraving styles.

Several details must be considered prior to the actual cutting of the pattern. If the engraving is to be relieved, backgrounds will need to be removed, leaving the decorative pattern as a raised or relieved engraving. A precious metal inlay may be part of the design. Gold, platinum, or silver - wire or sheet would be cut and hammered carefully into the desired areas. Both relief and inlay engraving share a common initial step: a design is cut by following or tracing the transferred design¡¯s outlines with the graver. In the case of gold inlay, it must be determined which area of the design will have gold. In those portions of the design, the material will be cut out accurately by graver or dental air drill to a predetermined depth, based on the thickness of the precious metal to be inlaid. This cutout is called a ¡°pocket¡±. When the pocket has been cut and leveled to proper depth, a small channel is cut along the base of the inner wall, creating an undercut. This could be called a "dovetail", a term familiar to woodworkers. In this case, the undercut is needed to hold the gold securely in place. The gold, having been cut to fit this pocket, will now be placed in the pocket. Its surface will be carefully hammered, usually with a brass punch. The hammering may be accomplished using a pneumatic AirGraver and brass punch, or with a traditional hammer and punch method. In either case, the result is the same. During impact, the gold undergoes expansion, spreading into the undercuts of the pocket, which secures it firmly in place.

If the inlay is to remain raised above the metal surface, steps are taken in order to calculate the position and shape of the pocket. This is done prior to the inlay by making a smoke or ink print of the pocket for later use. This is a vital step, and cannot be overlooked, since the procedure of inlaying precious metal involves hammering. Hammering, in turn, causes the gold's surface to become mushroomed and cover the pocket¡¯s outline area. It is difficult to accurately trim excess gold. If too much is trimmed, the gold may lack in the image area, and if not enough is trimmed, the inlay will not fit the pocket shape. This can result in the appearance of a fatter image or inaccuracies where detail is needed. Because an ink or smoke print was taken of the pocket prior to inlaying, this print can be laid over the mushroomed gold to determine exactly where the pocket is located.

The next stage involves leveling of the inlay surface. This can be achieved by filing, sanding and polishing to the predetermined height of the image being inlaid. Once the inlay surface is leveled and scratch-free, the gold can be detailed. Detailing may include line engraving, bulino, banknote techniques, or sculpting. The process is somewhat easier if the gold inlay is to be flush and level with the base metal surface, since there are no difficulties with mushroomed gold and pocket position. The surface is simply filed, sanded, and polished flush.

Relief engraving is simpler by comparison to inlay work, and only requires the removal of background around the design. This is accomplished by cutting away the metal background and leaving the decorative motif design in the foreground. The cutout background may be decoratively punched to create a matted textured, or it may be lined to create interesting light reflection effects. There are several methods in which the background may be detailed. Some of them are punching, stippling, lining, and beading.

Having accomplished the above, detailing of the decorative motif will begin. This step is labeled as shading. Shading is the process by which multiple, tightly grouped fine lines or dots are applied in order to achieve light-to-dark contrasts. This defining step can raise or lower the overall quality of the engraving. Correctly produced, it will add life to the art. If shading is not fully understood and expertly executed, however, the engraver runs the risk of lowering the quality of his previous efforts. Shading is the highlight of quality engraving, and is perhaps the most difficult area for the beginning and intermediate level engraver to develop proficiency. Collectors who recognize quality engraving examine the shading and look for precision, continuity, and character in the shaded areas.

Sep. 11, 2009 - Technical Library: Creating a Jig for Lasering Italian Charms

Sep. 11, 2009 - Laser engraving is the practice of using lasers to engrave or mark an object

Laser engraving machine is the practice of using lasers engraver or mark an object (it is also sometimes incorrectly described as etching, which involves the use of acid or a similar chemical). the technique can be very technical and complex, and often a computer system is used to drive the movements of the laser head. despite this complexity, very precise and clean engravings can be achieved at a high rate. the technique does not involve tool bits which contact the engraving surface and wear out. this is considered an advantage over alternative engraving technologies where bit heads have to be replaced regularly.

the impact of laser engraving has been more pronounced for specially-designed "laserable" materials. these include polymer and novel metal alloys.

in situations where physical alteration of a surface by engraving is undesirable, an alternative such as "marking" is available. this is a generic term that covers a broad spectrum of surfacing techniques including printing, hot-branding and laser bonding. in many instances, laser engraving machines are able to do marking that would have been done by other processes.

there are three main genres of engraving machines: the most common is the x-y table where, usually, the workpiece (surface) is stationary and the laser moves around in x and y directions drawing vectors. sometimes the laser is stationary and the workpiece moves. sometimes the workpiece moves in the y axis and the laser in the x axis. a second genre is for cylindrical workpieces (or flat workpieces mounted around a cylinder) where the laser effectively traverses a fine helix and on/off laser pulsing produces the desired image on a raster basis. in the third method, both the laser and workpiece are stationary and galvo mirrors move the laser beam over the workpiece surface. laser engravers using this technology can work in either raster or vector mode.

the point where the laser (the terms "laser" and "laser beam" may be used interchangeably) touches the surface should be on the focal plane of the laser's optical system, and is usually synonymous with its focal point. this point is typically small, perhaps less than a fraction of a millimeter (depending on the optical wavelength). only the area inside this focal point is significantly affected when the laser beam passes over the surface. the energy delivered by the laser changes the surface of the material under the focal point. it may heat up the surface and subsequently vaporize the material, or perhaps the material may fracture (known as "glass" or "glass up") and flake off the surface. this is how material is removed from the surface to create an engraving.

if the surface material is vaporized during laser engraving, ventilation through the use of blowers or a vacuum pump are almost always required to remove the noxious fumes and smoke arising from this process, and for removal of debris on the surface to allow the laser to continue engraving.

a laser can remove material very efficiently because the laser beam can be designed to deliver energy to the surface in a manner which converts a high percentage of the light energy into heat. the beam is highly focused and collimated - in most non-reflective materials like wood, plastics and enamel surfaces, the conversion of light energy to heat is more than {x%} efficient {example reference needed}. however, because of this efficiency, the equipment used in laser engraving may heat up rather quickly. elaborate cooling systems are required for the laser. alternatively, the laser beam may be pulsed to decrease the amount of excessive heating.

different patterns can be engraved by programming the controller to traverse a particular path for the laser beam over time. the trace of the laser beam is carefully regulated to achieve a consistent removal depth of material. for example, criss-crossed paths are avoided to ensure that each etched surface is exposed to the laser only once, so the same amount of material is removed. the speed at which the beam moves across the material is also considered in creating engraving patterns. changing the intensity and spread of the beam allows more flexibility in the design. for example, by changing the proportion of time (known as "duty-cycle") the laser is turned on during each pulse, the power delivered to the engraving surface can be controlled appropriately for the material.

since the position of the laser is known exactly by the controller, it is not necessary to add barriers to the surface to prevent the laser from deviating from the prescribed engraving pattern. as a result, no resistive mask is needed in laser engraving. this is primarily why this technique is different from older engraving methods.

a good example of where laser engraving technology has been adopted into the industry norm is the production line. in this particular setup, the laser beam is directed towards a rotating or vibrating mirror. the mirror moves in a manner which may trace out numbers and letters onto the surface being marked. this is particularly useful for printing dates, expiry codes, and lot numbering of products travelling along a production line. laser engraving has allowed materials made of plastic and glass to be marked "on the move". the location where the marking takes place is called a "marking laser station", an entity often found in packaging and bottling plants. older, slower technologies such as hot-stamping and pad printing have largely been phased out and replaced with laser engraving.

Jul. 27, 2009 - Thanksgiving Day Turkey Plaque

Decorate your home during this thanksgiving holiday with this festive thanksgiving turkey plaque. it can be hung on a wall, from the ceiling or propped up on a table as a decoration or center piece.

to give your turkey a personal touch, you can alternate the different colors of woods or use completely different types.

this thanksgiving day turkey was created using a helix 45 watt system. all speed and power settings below are what we used to create this project on a 45 watt epilog helix.

start by placing the 24" x 12" black acrylic sheet into the laser engraver system, and open the file tgturkey_back.cdr (pictured to the right).

first select the black lines of the thanksgiving turkey and print to the laser engraver in vector mode using settings that will only mark on the acrylic but not cut it. note: we used settings of speed 100%, power 15% for the helix 45 watt system.

then select the red lines of the file and print them to the laser engraver in vector mode. 45 watt settings: speed 15%, power 100%.

the four different files that you downloaded for the thanksgiving turkey have the type of wood they are to be cut from in the name of the file.

turkey_1maple.cdr: place the 1/8" maple sheet into the laser and send the project to the laser in vector mode. 45 watt settings: speed 35%, power 100%.

turkey_2walnut.cdr: place the 1/8" walnut sheet into thelaser and send the project to the laser in vector mode. 45 watt settings: speed 35%, power 100%.

turkey_3mahogany.cdr: place the 1/8" mahogany sheet into the laser and send the project to the laser in vector mode. 45 watt settings: speed 35%, power 100%.

turkey_4alder.cdr: place the 1/8" alder sheet into the laser and send the project to the laser in vector mode. 45 watt settings: speed 35%, power 100%.

note: each of the files are color coded to correspond with the tgturkey_colorguide.cdr file (pictured below). use these pictures along with the outlines on the acrylic as a reference when placing the various pieces of the thanksgiving day turkey onto the acrylic base.

Jul. 27, 2009 - Rocket attack in Corsica linked to major union unrest

A privatisation row over a ferry company linking the corsica to the french mainland has snowballed into a major headache for the french government and, according to the island's top official, into armed violence in the form of a rocket attack.

on friday sea links between corsica and the mainland had been cut and the major french port of marseille paralysed by protesters. all that despite a new proposal by the french government on thursday watering down the privatisation scheme.

corsican nationalists broke into the island's regional assembly to protest the arrest of union members, as tensions boiled over.

some 30 people with metal cutter plotters smashed open the gates of the assembly building in the city of ajaccio where deputies were debating a motion demanding the release of four seamen from the nationalist union for corsican workers (stc).

Jul. 27, 2009 - Midwest Wood working Solutions

midwest wood working solutions is the exclusive distributor of  Tech fortune laser engraver systems in north dakota, south dakota and minnesota. located in plymouth, mn, they can assist you in choosing the laser engraver for your needs.

contact midwest wood working solutions directly, or fill out our brochure request form, and we will have him contact you with the latest sales pricing and information on how to set up a demonstration of the laser engraver.

Jun. 26, 2009 - laser engravers Troubleshooting Solutions

Jun. 18, 2009 - About The Art Of Etching

engraving that uses acid on a metal surface is known as etching.   

etching is also used in the printmaking industry to carve an image into a metal plate with acid. once the acid is applied to the metal it bores into the surface, leaving behind lines and rough areas.

the process of etching is believed to have begun with daniel hopfer of augsburg, germany in his profession as an armor maker. it took a while for the process to be applied to print making.

both copper and zinc have a thin coating resin layer that is resistant to acid, which makes them ideal metals to use for etching. a coating can be made of a waxy material for use with metals that do not naturally have a coating. to make the engravings and lines clearly visible through the resin the metal plates are usually smoked. the metal is then scratched with a sharp tool which exposes the metal surface without penetrating it.

after the design has been etched onto the metal plate it is placed into an acidic solution which will only attack those parts of the plate which are exposed. the process of immersing the plate into the acid is called a bath. the plate is taken out of the bath several times, and then place back in until it has been etched to the desire depth.

to prevent the acid from penetrating the metal any further a coating of varnish is applied to the metal. you will get darker prints from the lines that are exposed to the acid the longest. there are some etchers who manually apply the acid to the plates surface rather than using a bath.

when making a print the varnish is removed and then ink is heated and placed onto the plate. after the ink is applied the excess is removed so that ink only remains in the depressions created by the etching process. the plate will then be covered with a soft, moist paper and placed in the etching press.

etchers will sometimes need to use modifying techniques in order to get the right image. removing any unwanted lines is one way that etchers will modify their products. they first make a trail print, and then burnish or modify the plate to correct it.

each plate can only make a few prints, as prints will look different in various stages of the printing process. after the desired number of prints are created the plates are usually destroyed by the etcher.

different methods of etching will produce different effects. items tend to have the look of a pencil drawing when they are created using soft-ground etching, while items created using aquatint with look more like a wash drawing. hard-ground etching is usually used in combination with aquatint.

the delicate art of pictorial etching is said to have evolved in germany as well. this method has its origins in burin engraving, where artists would etch on iron and gives us the earliest evidence of artistic etching.

wet and dry etchings are the most popular methods of etching these days. a container or bin filled with a solution that dissolves the metal is used for the easy process of wet etching. a mask is required so that the solution will only etch the desired parts of the metal plate. this means you will need to find a masking material that will not be destroyed by the etching solution. this method works great for etching thin films.

there are three main categories of dry etching: reactive ion etching (rie), sputter etching, and vapor phase etching. in rie gases are mixed with plasma in order to break gas molecules into ions. these ions will then react to the metal surface as the ions are accelerated.

gases are also used with sputter etching, but the ions are not. the simplest dry etching technique is vapor phase etching. in this technique the metal plate is placed into a chamber where gases are then introduced. a chemical reaction occurs at the metals surface interacts with the gas molecules, causing the design to be dissolved into the plate.

silicon dioxide etching, which uses hydrogen fluoride, and silicon etching, which uses xenon diflouride, are the two most popular types of vapor phase etching.

Relate links:

May. 30, 2009 - Introduction of Laser Engraving

May. 30, 2009 - Favorites

engraving takes a piece of precious metal, stone, or wood and gives it a unique look while endowing it with a sense of permanence and ownership.

there is a wide selection of materials that are used in the engraving process. some of the most commonly used materials include plastic, wood, brass, aluminum, and stone.

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both brass and aluminum are often used to create etched plates that can be attached to frames, trophies, or just about any other surface. the first step in the etching process is to remove the glossed coating to enable the etching tool to write on the surface of the material. only the top surface of the material is etched.

industrial molds and permanent name plates will usually use deep engraving. just as the name implies, deep engraving requires the laser engraver to dig deeper into the material.

May. 18, 2009 - Using your System as a Cutting Tool

the same laser engraving system that engraves on many products and materials is also a very powerful and versatile cutting too. it can be used to cut through a wide range of thin materials including woods and veneers, matte board, cork, plastics, acrylic, delrin, leather, melamine, mylar, press board, rubber, fiberglass, and solid surface material.

for many laser owners, this translates into new and profitable products such as ada signage, acrylic and vinyl cutters, wooden and plastic cutouts, pop displays, matte board, frames, and more.

the system
most manufacturers recommend that materials up to ¼ thick can be cut with a 25 watt laser. there may be exceptions, however. some materials, due to their hardness and density do not cut well or are extremely slow at cutting. multiple passes may be required or, in some cases, a more powerful laser will be needed. if you are buying your system specifically for cutting plotter, you will want to make sure that the system you buy has enough power to cut through materials profitably. there may also be differences in the cut quality of some systems. if edge quality is important to your application(s), it may well be worth your while to take the necessary steps to finding a machine that produces the quality cuts that you desire.

useful options
there are also available options for your system that will help you achieve clean, clear results. the main trick to successful vector cutting is to keep the material up and off of the machines table top. this will give you an advantageous air flow between the table top and the material, helping to minimize potential damage caused by smoke, debris, and the lasers heat. the result is a cleaner and more attractive cut. there are available options known as vector cutting tables that do help to keep the material up and off of the table top. additionally, they prevent the laser beam from reflecting directly off of the table top and the machine into the underside of the material, which can potentially cause damage to the material.

these tables are built to allow the energy of the laser beam to diffuse over a wide area, thus reducing damage to material or machine surfaces. your systems manufacturer can assist you with the purchase of vector cutting tables made for this purpose or you can make your own using some of the following materials: light egg crate diffuser panels, fire retardant treated paper honeycomb, aluminum or stainless steel honeycomb, or fine metal screening.

another similar option is a vacuum work support table. these are usually made of aluminum and drilled with numerous small holds. this will hold the material flat and is particularly advantageous for the cutting of flexible materials like paper products, cloth, and heat sensitive materials like flexible brass and engravers plastic. keeping the material flat while laser cutting will also give you a more consistent cut and will help to eliminate any potential product damage.

another option is a downside exhaust work support table. this type of option will also hold the part up off of the reflective table top as well as hold parts flat. additionally, it will allow smoke, vaporized materials and fumes to be pulled down and away from the point of laser contact.

this will result in less smoke damage and provide greater consistent laser power where it is needed. this also means that less of the laser power is being absorbed by heat, smoke and other debris. the result is a more consistent quality cut and less clean up time. if you are going to do a lot of cutting, a vector vacuum or downside exhaust table is highly recommended. they are built to mount directly on top of the engraving tabletop and usually will come with their own datum stops or rulers. some of todays systems do have such options already included with the purchase or the manufacturers can recommend one that will work best with their system.

another option available on many systems is air assist. this works by blowing a fine stream of air across the point of laser contact. this will assist you in keeping debris and smoke away from the material, while it is being laser cut.

if you are going to be cutting large amounts of acrylic and/or plastics, odor will also become an issue. the best advice is to operate the system in a well-ventilated room, and use an exhaust system that will work for your application.

start cutting
to use your system as a cutting tool is relatively simple. you will want use your machines vector mode as opposed to a raster engraving mode. the vector mode allows the laser to follow an outline and move in a point to point motion, while the raster mode allows for a continuous back and forth motion by the laser (which is ideal for engraving).

you will want to consult your machines manual for instructions on cutting with your specific system. the manual will also provide initial guidelines for power, speed, resolution, and artwork generation as well as other tips for successful vector cutting. some materials may also cut cleaner when one or both sides are masked and/or dampened.

conclusion
if you are not presently using your laser engraving machine to cut out thin materials, you might be missing out on potentially profitable opportunities.

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