In this example we will be lasering an image of an eagle onto black laser tile. Figure 1 shows a photo that I bought off the Internet. I am using this image because I want to see what the effect of having our background image being a bit out of focus and to see how it appears on the tile.

Click here to download the Corel example file

Figure 1 shows us the original image I bought off the Internet for $3

First of all we need to convert out image to grayscale in CorelDraw. To do this go to IMAGE | MODE | GRAYSCALE.

With our image in grayscale we need to adjust the image with out Contrast Enhancement. To access the Contrast Enhancement command go to EFFECTS | ADJUST | CONTRAST ENHANCEMENT.

Figure 2 shows the Contrast Enhancement command

Figure 3 shows the Sharpen command

Figure 3 shows the Sharpen Command

Figure 4 shows the image lasered engraved on the black granite

Figure 4 shows the image lasered on the black granite

Figure 5 shows the image painted white and sealed with a clear gloss sealer

Figure 5 shows the finished tile after it has been painted and sealed

Figure 1

Colour Filling

Colour filling is a term used within the awards and engraving industry to describe a variety of techniques used to add colour or contrast to engraving. Even though there are a wide variety of engraving materials available that come in a multitude of colours, thickness and finishes, there are often times when it is desirable to colour the engraving to make it stand out or enhance the overall appearance of the product.

OXIDIZING

There are three basic processes or applications that fall under the category of colour filling. The most common, which is used to blacken engraving on brass and aluminium, isn’t really ‘filling” at all. It is actually an oxidization process done with a mild acid which blackens the exposed metal upon contact. Since this oxidizing process isn’t selective as to where it works, it can only be used on metals that have some kind of coating that is removed in the engraving process.

For example, the commercially prepared brass common to the industry is coated with lacquer or some other durable finish. Aluminium can be coated in a similar manner or it can be anodized. Anodizing is an electro-chemical process that seals the surface of the metal and prevents natural oxidization. When we remove any of these finishes with a diamond graver, burnisher or a rotary cutter, exposed areas can be blackened with the oxidizing solution without having it affect the rest of the plate.

Oxidizers are available for both brass and aluminium from a variety of sources. They are all reasonably effective and the only consideration is that it is fresh and free of contaminants. While most oxidizers are supplied with a dauber, this may not be the best way to apply it since you would be continually putting the dirty applicator back into the clean solution. A better method is to use cotton swabs and discard them after each use.

It is equally important that the engraving be clean and free of any oil or even finger prints. Since metal experiences natural oxidization when exposed to the air, it’s a good idea to oxidize it soon after it’s engraved so the full effect of the oxidizer is achieved.

On small plates, apply the oxidizer liberally to all of the engraving. It sometimes helps to actually ‘scrub’ it into the letters with your swab. Allow the engraving to darken and, when the desired effect is achieved, rinse the plate with water. Rinsing will dilute the acid and stop the oxidizing process. If the oxidizer is left on too long, the process will continue and the blackened areas may turn grey and chalky and even flake out of the engraving.

After rinsing, blot the plate softly with a cloth or paper towel – don’t wipe it because it is possible to rub the black out of the letters. You can make a final clean-up after the plate has dried. If there are any areas that didn’t take, you can go back and repeat the process.

No matter how good a job you do, oxidized engraving will have a dull, lustrous appearance. It is possible to enhance the appearance by applying silicones, spray lubricants and even furniture polish to the plate. While these methods tend to darken and add gloss to the lettering, their effects usually diminish in a relatively short time.

PAINT STICK

Actual colour filling where a fill material is applied into the engraving can only be done on rotary engraved plates and is usually done with paint or a paint stick. A paint stick looks like a large crayon, is available in a variety of colours, and is simple to use. First, shave the end of the stick with a knife or razor blade to remove any skin that has formed. Then, rub the stick back and forth across the engraving until the letters are filled and then wipe off the excess with a cloth or paper towel.

On some surfaces, the paint stick will leave an oily residue that can stain the surface of the plate. Sometimes alcohol or paint thinner is effective in removing this film, but the easiest way to completely clean the plate is to allow it to dry over night and then wash it using warm water and a nonabrasive cleanser such as Bon Ami. While this method of filling is easy and reasonably durable, it never gets completely hard and doesn’t offer the smooth, glossy appearance that paint does.

PAINT FILLING

Paint filling, while a little more difficult than the other methods, offers the broadest number of options in terms of materials, colours and applications. For metals and rigid plastics (phenolics and acrylics), it is best to use a fast-drying, oil based enamel and mineral spirits for the cleaning operation. On soft plastics such as flexible engraving stock and other materials that may be affected by caustic solvents, use latex or acrylic paints and water or alcohol for clean-up. Other than this, the procedure is essentially the same for both. In addition to the paint, you’ll need an inexpensive brush, an old phone book and some pieces of stiff paper or cardboard (about the size and weight of a business card).

The engraving should be smooth, free of burrs and have sufficient depth to hold the paint. As a rule of thumb, with characters up to 114″ high, engrave to a depth of .010″ – .012″. On larger characters it is advisable to go .015″ – .020″ deep depending on the line width and filling technique used.

The consistency of the paint should be such that it is thin enough to flow freely, but thick enough that it doesn’t allow the cutter marks to show through after it has dried. Using the brush, apply the paint liberally so that the engraving is completely filled. Immediately after filling, hold one of the cardboard pieces so that its straight edge rests against the plate and scrape off the excess paint leaving just a thin film. Allow the plate to dry for several minutes until the paint has started to setup and the surface can be wiped without disturbing the paint in the engraving. The time varies depending on the paint being used, but 5 to I 0 minutes would be a good starting point.

The next step is the initial clean-up of the surface of the plate. Wrap two or three thickness of a lint-free cloth tightly around a wood or plastic block and dampen it with thinner. Wipe the surface of the plate lightly, in one direction, until the paint residue is removed. On small plates, an easier method of cleaning is to wipe the plate across the cloth. A widely-used and effective alternative to the cloth method is to use pages from a telephone book. Their texture allows them to absorb the thinner and any problem with lint is virtually eliminated.

There are two key things to remember that can mean the difference between success and failure. One is not to use too much thinner. If the cloth or paper is too wet, thinner will seep into the engraving and attack the paint ruining the appearance. Secondly, when wiping, do it lightly so as not to allow the cloth to come in contact with the paint in the characters.

After the plate has been wiped clean, there may still be a haze that requires some additional cleaning. It is best to allow the plate to dry, preferably overnight, and then do the final clean-up when the paint in the characters has completely set. You may want to use soap and water or a cleaner that will remove any oily residue left by the paint and thinner.

When filling larger letters, it is possible to eliminate most, if not all, of the cleaning and wiping by using an applicator that allows you to apply the paint directly into the engraving. Some systems utilize small plastic squeeze bottles with needle-like nozzles while others are more elaborate mechanical dispensing systems. With either method, paint is squeezed through the fine nozzle directly into the character. With a little practice, you can become adept enough to eliminate the need for major clean-up.

Some of the best sources for small amounts of paint in a rainbow of colours are touch-up paint from the automotive store, and paint sold at hobby and art supply stores. Always test the paint before applying it to your finished engraving to make sure it will not effect the plastic.

If you use your imagination, you can create some very dramatic effects through colour filling. There are other ways to add colour and create dramatic effects on nameplates and signage. You can spray paint a clear acrylic plate one colour, engrave through the painted surface and fill the engraving another colour. You will be able to produce signage to match a company’s corporate colours or co-ordinate with office decor.
There are also commercially available engraving materials that are made for reverse engraving and colour filling, These materials have a clear face and a coloured background. Merely engrave through the rear surface, apply paint to the engraved area and you have a sign with a coloured background and contrasting letters.

There is no questions that colour filling requires extra time and effort, but once you’ve mastered the techniques involved, you’ll be able to enhance and expand the products and services you offer.

DOVETAILING

DESCRIPTION

Figure 1

Dovetailing is a method of milling slots or channels that have angled side walls yield ing an opening that is wider at the bottom than at the top.  This type of groove is intended to hold a piece of material whose edges have been bevelled at an angle corresponding with those in the slot.  When  assembled, the mating piece is retained within the channel, but con be moved back and forth.

A good example of a dovetail application, is the master copy type and copy slide used on manual engraving machines.  The copy slide is a dovetailed channel and the type blanks have bevelled edges.  The type is retained in the slide, but can be moved easily for insertion and removal.

APPLICATION

A practical application for dovetailing in the engraving industry is the fabrication of directory signs that have removable in serts or legend plates.  Signs of this type are generally made using acrylic or flexible engraving stock and can be mode to be as decorative as they are useful.

When using acrylic, products that have both a clear and coloured layer, like the Romark Slickers, con be used to create a wide range of options and effects.  These

materials can be reverse engraved and then paint filled with contrasting colours.  Directories made from flexible engraving stock can incorporate inserts and back grounds of different colours and con be equally as attractive.

The main sign plate that has the dove tailed slots should be a minimum of 1/8″ thick. The insert strips are generally 1 1 / 6″ thick and are recessed the same thickness so that the face of the strip is flush with the surface of the sign.

TECHNIQUE

Creating the dovetailed slot is a milling operation that is done with a ‘dovetail’ cutter.  This cutter is ground with a nega tive angle that produces the undercut on the edge of the slot.  The insert strip is cut out using a profiling cutter that has an angle that matches that of the dovetail cutter. Neither procedure is particularly difficult once the basics are understood.

For the dovetailing operation, we first need to create a computer generated logo pattern or an engraving template that provides a series of parallel cutter passes (Figure 1). For purposes of example, let’s assume we are making a 1.5′wide slot and are using a 0.25 dovetail cutter.  Since the lines in our logo pattern define the centre of the cut – not the edge – we must subtract the cutter tip diameter from the finished slot width. In this case, 1.5″, less the cutter (.250′), equals a pattern width of 1.25″.

Since each cut is .250″ wide, there would be five passes required to create the full width of 1.25″ (1.25 divided by.250 = 5. It is desirable however to have one pass overlap the next, so the logo should be created with at least one more line than the number calculated. In the case of our example, there would be six lines rather than five.  This will eliminate any ridges in the bottom of the cut.

The dovetail cutter cuts wider at the bot tom than it does at the top, so the cut must be made at full depth.  The logo pattern should be made longer than the width of the plate so that the cutter can be low ered to the specified depth before it contacts the plate.  After it is lowered, the cutter enters the edge of the material, makes the pass, exits the other edge and repeats the process for the next pass, (Figure 2) It is important to remember that the cutter can only be raised when it is off the plate.

As there is a considerable amount of material being removed, the dovetailing process is slower than normal engraving.  As a rule-of-thumb, cutter speed should be about 10,000 rpm and the feed rate (the speed the cutter moves through the material) should be about 15 to 30 inches per minute depending on the material slower in acrylic, faster in flexible, A slot that is 1.5″ wide by 10″ long can easily be produced in 3 to 4 minutes.

When working in acrylic, it is strongly rec ommended that a water-soluble cutting oil be used.  It allows for better finishes, faster feed rates and extends cutter life.

With the dovetailing complete, the next step is to make the insert strips.  This is done with a ‘profiling’ cutter which is sharp ened at an angle that matches the angle on the groove.  Like the dovetailing op eration, a logo pattern must be created that will yield a plate of the proper length and width.  A simple rectangle is all that is needed, (Figure 3). As with the dovetail pattern, it is necessary to factor in the cutter tip size when making the calculations.  If we were making a strip that was 1.5″ x 1 0″ and were using a profiler with a .030″ tip, we would add .030″ to each dimension yielding a rectangle measuring 1.530″ by 10.030″. When mak ing the strips, we are concerned with the inside of the cut, so we add the cutter width rather than subtract it.

There are two methods of profiling, One is to tape the sheet of material to a scrap piece of plastic using double-faced mask ing tape and engrave completely through the top piece of material.  The strips are removed from the tape backing and are ready to use.

The other method is to clamp or tape the material to the machine table and en grave only partially through it, leaving a few thousandths of material to hold the plates in place.  The pieces are then snapped apart, however they must be trimmed to remove the thin web that was not completely removed during profiling.

The fit between the strips and the dove tailed channel should be close enough to hold the strip snugly, but not so tight that it binds when inserted or removed.  The fit can easily be adjusted by altering the width of the insert by adjusting the width of the rectangle pattern a few thousandths either way.

Figure 2

TABLE SHEAR INSTRUCTION SHEET

Figure 1

Figure 2

After removing the shear from the box, and before using, the shear’s squareness and blade alignment must be checked. Performing this inspection will ensure accurate cutting.

Verifying Squareness Adjustment

• Use a carpenter’s square to verify squareness. Place one side of the carpenter’s square against the scaled fence (#1). Place the other side of the square against the upper blade edge. If adjustment is required, loosen screws on scaled fence (#1).
. Adjust as required.

• The same process can be used to set the 3 in. calibration mark exactly 3 in. from the blade edge. Be sure screws are tightened when completing adjustments.

Blade Alignment

• Blades must be in alignment for the entire length of cut. To test for proper alignment, use the shear to cut a sheet of paper. The paper should cut uniformly from end to end without bending. If this does not occur, some blade adjustment is required. Refer to Gib Adjustment Page 4.

CAUTION: do not operate shear without the plastic safety guard in place. Bottom of plastic guard should always be 1/4 in.
above the base of shear while operating.

TABLE SHEAR INSTRUCTION SHEET

The Table Shear is provided with a Scaled Fence and an End Stop to facilitate cutting.

SCALED FENCE. This scale is used to measure the size of the material to be cut. When cutting, keep one side of the material flush with the scale.
NOTE: the scaled fence may be used in any one of three positions to distribute blade wear. Optional 1/2 in. to 4 in. templates are available to assist in end stop measurements. Templates are available.

Cutting Procedure

• Hold the material to be cut FIRMLY DOWN to the table base, as well as FIRMLY AGAINST the scaled fence. When cutting, keep one side of the material flush with the fence.

END STOP This stop is used to cut multiple pieces of the same size.

• Adjustment – Loosen the end stop knob and adjust length of end stop rod using a ruler or template. See Above

• Cutting Procedure – Loosen the end stop knob (# 2) and adjust the End Stop rod to the position which will give you the cut size desired. Tighten the end stop knob in place. Remember to HOLD THE MATERIAL FIRMLY DOWN ON THE TABLE BASE AND AGAINST THE SCALE FENCE.

Figure 3

Gib Adjustment.

NOTE: Some shear assemblies may be equipped with one long set screw or two short set screws. NOTE: Do not loosen eccentric bolts (# 12) during this procedure.

There are two gibs. The front gib (square type) is located on the left side and secured with one or two set screws (Two per hole).,The second gib is located on the right side (round type) and also secured with two set screws. Gib set screws holes typically have two set screws on each side of the table shear.

Front Gib (Left Side)

1. Using a 1/8 in. Allen wrench, remove the outer .250 in. set screw and carefully set this aside. Do not lose. The inner set screw (.375 in.) can be adjusted. Do not remove.

CAUTION: Do not remove the inner set screw(s). Removing this screw(s) will cause the gib to fall out of alignment.

2. Tightening the set screw (slight clockwise rotation) draws the upper blade into the lower blade.
3. Verify blade operation. There should be a light scraping between blade edges as blades close.

Figure 4

Back Gib (Right Side)

Before adjusting the back gib, the plastic guard must be removed.

NOTE: Do not loosen eccentric bolts (#12) during this procedure.

Guard Removal

1. Using a thumb to apply light pressure against the retaining spring, insert a flat head screw driver into slot and turn. This lifts and removes the spring from the lower pivot pin (# 11).

2. Remove the screw holding the “L” bracket (# 6). Then, gently pull the small end of shear guard off the pivot pin. Replace the retaining spring and place shear guard in a safe place.

3. Using a 1/ 8 in. Allen wrench, remove the outer.250 in. set screw and carefully set this aside. Do not lose. The inner set screw (.375 in.) can be adjusted. Do not remove.

CAUTION: Do not remove the inner set screw. Removing both inner screws will cause the gib to fall out of alignment.

4. Tightening the set screw (slight clockwise rotation) draws the upper blade into the lower blade.

Verify blade operation.

There should be a light scraping between blade edges as blades close. Readjust if necessary. ‘

Insert the outer .250 in. set screw and lightly tighten against the first set screw to hold it into place.

Replace plastic guard* and secure with retaining ring.

Align “L” bracket and secure with screw. With adjustment complete, your shear is ready to use.

NOTE: If problems arise, that these simple adjustments do not correct, call your distributor
immediately.

NOTE: Some set screw holes may have only one long set screw used for gib adjustment. If this is the case, a thread locking compound such as “Loctite” should be used to hold this screw in place after adjustment is made. The “Loctite” must be applied to the threads of the set screw before it’s completely in the hole.

*The Guard is stationary. It does not move at all.

Removal and installation of the top and bottom shear blades caution: Due to the sharpness of blades, it is recommended that gloves be used during this process to prevent injury. EXTREME CAUTION IS ADVISED.

Tools Required

Scewdrivers, regular and Phillips 1/8 in.
Allen wrench 7/16” socket and open ended wrench

Upper Blade Removal

1. Remove screw holding Safety Guard
2. Remove retaining ring holding the safety guard
3. Remove Safety Guard
4. Replace retaining ring to hold pin in place.

Figure 5

Figure 6

If you’re new to the industry, this glossary of commonly-used awards and engraving terms will be a useful resource, helping you to expand your knowledge and your business.

3D ENGRAVING: Process where Z axis can have variable settings of depth during a tool pass. Depth can be set manually, or through software control; creates more of hand-crafted look.

ACRYLIC: Thermoplastic-resin-based plastic engraving substrate. Molecular structure of acrylic provides increased protection from sunlight’s ultraviolet (UV) rays; Material noted for outdoor durability and colorfastness.

ACID-ETCHING: A method similar to sandblasting, used primarily for marking glass and magnesium. A stencil of the artwork is either hand or computer-cut and applied to the glass, which is then brushed with an acid mixture such as ammonium and sodium bifloride. After a specified length of time, the surface is washed and the stencil removed.

ADA: American with Disabilities Act; federal civil-rights legislation addressing the needs of physically impaired citizens. Sections dealing with signage include Title II, affecting government and public sector activities, and Title 111, involving the private sector. Additional rules are included in the ADA Accessibility Guidelines (ADAAG).

ANODIZED: Metal with oxide-film coating, put on by electric charge. Film can be removed by engraving processes to reveal colour of original metal substrate.

ARC: For engraving, tool path that deflects by a certain amount of degrees (such as 45′ or 90′) to create a curve. Also, the curved baseline for placing characters in circular layouts.

ARCHITECTURAL GAUGE: Thicker (1/4″) plastic engraving substrate designed mainly for sign making. Allows for deeper removal of material and appearance of greater depth.

AXIS (X, Y, Z): Directions that tools are sent with any engraving machine to create an image. Generally, the X axis is the tool’s movement from left to right from the origin point; the Y axis is movement towards and away from the origin; and the Z axis is the tool’s up and down (perpendicular) movement into and out of the engraving substrate’s surface.

BEZIER CURVE: in computer graphics, a line segment where the angle deflection is mathematically estimated. Bezier segments usually feature movable control points (which see) that allow nearly unlimited alteration of the segment to a variety of angles.

BEVELER: Tool bit with cutter angle (usually 30′ or 45′) to create deep incised cutting.

REVELING: Engraving/cutting that removes material to leave wide, V-shaped troughs with sharply angled bottoms and ends.

RITMAP: Refers to images made of a collection of monochrome or multicoloured pixels, or dots, for displaying or printing.

BOUNDING BOX: The area of an on-screen image, in computer graphics, at its maximum X and Y axes measurements. Altering the bounding box by moving its control points can change the shape or size of an image. Bounding boxes allows scaling of all graphics images in PostScript (which see) file types.

BRAILLE (GRADES 1 & 2): Tactile-symbol system enabling visually-impaired and unsighted people to read and write. Named after Louis Braille, an unsighted 19th-century French teacher who devised it. Grade I involves a character-by-character translation of printed material; Grade 2 uses special contractions (much like the phonetic parts of speech) for messages. Grade 2 is required by legislation such as the federal Americans with Disabilities Act (ADA).

BURNISH: To polish by rubbing.

BURNISHER: Tool used with rotary engraving systems to remove top level of coated metals or glass. Works on same principle as diamond drag, but with rotating tool.

CAP LAYERS: Laminated top piece in materials with multiple plies. See two-ply.

COM: Computer Graphics Metafile. A file type associated with IBM-type computers; can often be imported into engraving programs.

CNC: Communications language used in some robotics and larger machine-controlled cutting devices.

COLLET. Device used to hold engraving tools, usually at the bottom of the spindle. Can prevent tool drift and shake due to vibration; particularly effective when using a rotary spindle to work with harder substrates, such as stainless steel. Depending on manufacturer, collet loaded spindles may also accept top-loading (which see) engraving tools.

CONDENSE: Fitting text to a specified measurement of length in a line. Action may require the equal reduction of space between characters (see kerning) and width of characters.

CONTROL POINT: In computer graphics, a connection between two line/are segments or a selectable handle on a bounding box. Moving a control point changes the shape of an object, altering a line path, shape or size.

COORDINATE: A point that can be referenced by its position on the X, Y, or Z axes of an engraver or router. The use of line or arc segments to connect co-ordinates creates tool paths that form the lines of an image.

CORIAN: Trade name for synthetic stone (which see).

CUTOUT: Action of engraving tool going completely through substrate and separating into pieces. Most often used for cutting apart multiple jobs on one piece of substrate (see step-and-repeat).

CUTTER KNOB: Knurled-edge holder for engraving tool bits. Nearly always brass; screws into top of spindle in counter-clockwise motion.

DEPTH HOSE: Cone on bottom end of spindle to regulate extent of engraving; often used for engraving irregular surfaces. Can also be protective cone to prevent marring of substrate by spindle.

DIAMOND DRAG: Action of using non-rotating tool to remove thin top surface of substrate, such as coated metal, to form characters, logos, etc. Tool includes diamond tip for sharpness, greater longevity.

DIE: Outline pattern of characters or logos; most often used with a pantograph. Also used as a moulding surface for die casting.

DRAG: See diamond drag.

DXF. AutoCAD Exchange Format; computer file type showing images as vectors. Associated with IBM-type and some Macintosh computer programs; can be imported into a variety of engraving programs.

END MALL: Tool with drill-like end to cut into harder metallic materials; also can drill holes directly into substrate along Z-axis.

EPROM: Erasable Programmable Read Only Memory; computer chip programmed with certain information, such as fonts and logos. Chips retain information until erased by exposure to ultraviolet light. Often used by older proprietary engraving systems.

ENCAPSULATED POSTSCRIPT: Computer file type used widely for graphics with IBM-type and Macintosh computers. Accurate in storing vectors of images; often can be imported into engraving programs. Easily the most popular file format for generally available computer clip art.

EXTRUSION: A part that’s created by forcing a raw material through a die to create the desired shape.

FEED: Rate of speed as tool bit travels through substrates. Feed rate can affect quality of cuts of different materials.

FILENAME EXTENSIONS: In DOS- and Windows based software, the three letters after the period (or “dot”) in a file name. With graphics files, the three letters denote a file type, such as the vector- and bitmap-based Encapsulated PostScript (EPS); the vector-based Dynamic Exchange Format (DXF), Hewlett-Packard Graphics Language or Gerber-based files (PIT), Computer Graphics Metafile (CGM) and Windows Metafile (WMF); and the bitmap-based PhotoPaint (PCX) and Tagged Image File Format (TIF).

FILL ANGLE: Adjustment of fills (which see) to vary from plain O’ horizontal or 90′ vertical; can create fewer tool paths in removing material.

FILLING: Colour decorating of engraved areas, usually by acrylic-based material.

FILLS: Tool-path directions and methods for travelling through substrate to remove, or rout, material. Sweep or hatch fills removes material in consecutive, side-by-side lines spiral fills trace the edge of area of material to be removed, then works inward to centre in one path; island fills traces the edge, then works inward in separate, concentric paths.

FORT. Single style of a character’s typeface. Originally defined size (or weight) as well; now evolving into particular designs, such as Helvetica Medium, Helvetica Italic, Helvetica Bold, etc.

FOUNTAINNEAI)O: Trade name for a type of synthetic stone (which see).

GANTRY: Rail on which engraving spindle assembly travels with certain types of engravers. Spindle usually travels along length of gantry for X axis movement. Gantry may also be mounted on rails for movement along Y-axis; with other engravers, gantry is stationary and engraving table itself moves along Y-axis.

NPGL: Hewlett-Packard Graphics Language; communication method between computer and an output device for drawing or cutting vectors of lines and arcs to create images. Most-popular method for communicating vath vinyl cutters; gaining acceptance in engraving.

JIG: Form or vice for holding non-flat materials for engraving. Can be shaped to hold cylindrical objects, items with various surface levels, etc.

KERNING: Space between characters in a line of text. Spacing is varied to compensate for shapes of letters, making for easier reading. Specific spacing between two letters, along with characters, make up a kerning pair.

LASER ENGRAVER: Device using directed, amplified beam of light to cut and mark material. Laser engravers generally use one of two technologies; carbon-dioxide C02 gas-based or Yttrium Aluminium Gamet (YAG) type lasers. Both will work with a variety of engravables, including glass, acrylic, phenolic and coated metals. YAG lasers can also perform deeper engraving and cutting of metals. The power of a laser engraver is measured in watts.

LATHE ENGRAVER: Machine using cylinder to hold substrate and control Y-axis movement.

LEADING: Space between lines of text. Often expressed as a percentage of size of characters to separate two baselines of text. For example, leading between two lines of 1″ characters, where baselines are 1 1/4″ apart, would be 125 percent.

LOGO: Artistic image rendered for use in an engraving program. Can be symbol, shape, caricature, company trademark; image is retained in vectored image for engraving.

MARQUEE: In computer graphics, the process of using a mouse-driven cursor to draw a rectangle around an on-screen object, therefore selecting it for further work. Also called highlighting in some software.

MASK: Self-adhesive material used for sandblasting; made of thick (1 0 mil or better) but flexible medium for cutting patterns and placing directly on substrate to be sandblasted. Can be cut by computer-controlled plotters with a knife head.

MATH COPROCESSOR: A computer chip that performs floating-point division, where decimal points are removed before calculation and inserted after computation. In computer graphics, the use of a math coprocessor speeds up calculations when performing a number of functions, cutting response times by up to 90 percent. IBM-compatible computers with 80486DX or Pentium microprocessors have a coprocessor included in the main processing chip. So do Macintosh computers with PowerPC microprocessors; standard Macintosh computers and IBM-types with SX or 80386 (or older) microprocessors need separate math coprocessing chips. Also called a floating – point unit (FPU) chip with Macintoshes.

MELAMINE: See phenotic.

MICROMETER: Adjustment gauge near nose of engraving spindle. Allows for precise alignment of tool bit for engraving.

MICROPROCESSOR: The main computing, or “thinking,” chip in a computer. IBM-compatibles have microprocessors made mainly by Intel Corp. following a progressively more powerful numbering scheme (80386, 80486) or a name, as with Intel’s currently top-speed Pentium chip. Macintoshes use either a number-based Motorola Corp. chip (68030, 68040) or the newer, top-speed PowerPC. Computing speed is measured in megahertz (MHz); in most cases, the bigger the MHz number for a certain type of chip, the faster the chip and the computer.

MIRROR: Reversal of images along X axis. Done mainly in engraving for reverse-engraving devices, where material in area to be engraved is removed from back side of substrate, down to top surface of clear material.

NODE: Connection point of line segments in an on-screen image. Selecting nodes with a mouse cursor enables a user to move the node and change an image’s shape, or change the node’s properties (breaking a line segment, changing a line to a curve, etc.) Also called a control point in some sign software.

HOSE INSERT. See depth nose.

NOTCHER: Metal punch to cut and shape substrates. Notching generally cuts rounded (radius) and scalloped (inverse radius) corners; also can punch holes for plates, etc.

OFFSET.. Distance that engraving hardware/ software will move a point of a tool to compensate for the tool’s cutting action. Movement ensures accuracy of images; for example, if tool cuts 1/41, swath, offset would be 1/8″. Offsets can also be used to remove material inside or outside the shape of an object. Offsets noted as online actually provide no offset at all.

OGEE: in computer graphics, a distortion of an image using an S-shaped curve as one baseline, giving an image a “wave” look.

ORIGIN: Point at which engraving starts, or starting point of engraving area. Includes the 0 points of X and Y axes. Can be at absolute centre of area to be engraved (rare); most often at lower-left corner of engravable area.

ORTNO: Zero (0) degrees horizontal; a command included in several design software to set an image to a “perfect” horizontal level.

OUTGAS: The characteristic of a solid or liquid to vaporise under heat. Outgassing can occur in some plastics and paints if they are not through drying, resulting in adhesive failure to anything applied over them.

OUTLINE/INLINE: In computer graphics, a closed-loop path that copies an original’s shape, but is offset by a positive measurement outside the original (outline), or a negative measurement inside the original (inline).

PANTOGRAPH: Manual engraving machine allowing for tracing along dies or patterns with non-engraving stylus; stylus connected by arm mechanism to engraving spindle for creating a duplicate image of die/pattern. Adjustment of mechanism allows for engraving enlargement/reduction from size of pattern/die.

PARALLEL CUTTER: Tool bit with head to create square, uniform trough while cutting.

PASS (SINGLE/MULTIPLE): Route of travel of engraving tool across or into substrate. Single pass equals one trip; multiple pass along same route of tool can increase depth of cut and clean-up burrs, uneven surfaces, etc.

PERPETUAL: Plaque designed for additions of individual recognition plates in rows and columns; usually installed at a facility, with plates added to denote annual winners or achievers.

PHENOLIC: Heat and chemical resistant plastic engraving substrate. Hard, tough material; usually needs carbide tools for cutting/ engraving. Also known as melamine.

PICTOGRAM: A pictorial symbol commonly found in environmental graphics and regulatory (traffic) signs.

PLATE: Individual piece of material to be engraved. Also used as term for defined work area in several engraving-software packages.

PLOTTER: Device that interprets information sent from a computer and moves a tool head to a series of co-ordinates based on the device’s X and Y axes. Sign uses a plotter equipped with a knife to cut vinyl, with the X and Y co-ordinates forming an outline that can be weeded and installed on a surface. Sign-cutting plotters can be flatbed, where the knife-head is in a mobile gantry that moves to X and Y points; or drum, where the material is moved to find X co-ordinates and the knife head moves to Y points along a stationary gantry.

PORTS: Computer gateways where information is sent to a device connected to the computer by a cable. IBM-type machines use parallel ports, where multiple pieces of information are sent to a device such as a laser printer, and serial ports, where information is sent in a single stream of data to a device. Macintosh ports are really serial ports, but cables are different from IBM type machines.

POSTSCRIPT@: Graphics language that allows for proportional scaling of images. it’s what makes most scaleable type and artwork possible for most Windows- and Macintosh-based graphics software.

PRODUCTION AREA: Space on an engraving table where the engraving tool can touch the substrate and engrave. Some engraving tables may have non-production areas (or margins) for setting of clamps, etc. Also called engravable area or usable area.

RADIUS CUTTER: Tool bit with rounded head. Often used for single-line font marking and reverse engraving.

RADIUS: Measurement of one-half of diameter of circle; for engraving, sets severity f curve when putting text along are baseline.

RAM: Random Access Memory. Computer chips that act as an electronic storage area for quick access of programs and images.

RASTER: Dot-like computer image designed to show up on screens and be printed. Collections of dots make up raster images, which usually don’t have vector outlines for cutting, engraving, etc. Images also called bitmap.

ROSETTES: Rounded ornaments with construction of elements in pedal-like fashion.

ROUT. Digging into substrate by tool head to remove material. Usually involves removal of material (also called clean-out) in large areas, often leaving only character and logo images,

SANDBLASTING: A method for decorating glass or wood. A rubberised stencil of the artwork is either hand- or computer-cut and applied to the substrate, which is then sprayed with a pressurised stream of sand or synthetic particles to texture the areas unprotected by the stencil. Once the desired depth has been achieved on the item being blasted, the stencil is removed, and, if on wood, the surfaces may be painted.

SCANNER: Optical device that senses different levels of reflections of light and transfers that information into numeric formulas that can be read by a computer and replicated on a screen or printed.

SCANNING: Process of capturing an already printed image with a scanner, and then transferring the information into a raster, or bitmap, image for computer storage and use by graphics program.

SECOND SURFACE: Material under a ]animated or extruded top layer; as top is engraved or routed, second surface (usually a contrasting colour) is exposed. Also, the process of marking a clear substrate with a mirror, or reverse image and mounting substrate with unmarked surface facing out.

SERIALIZATION: Ability of engraving software to assign consecutive number/letter combinations; used to generate identification numbers for control panels, ID plates, etc.

SHEAR: Device using intense uniform pressure to cut or bend material cleanly and evenly. Often used to cut large pieces of substrate into custom shapes.

SINTERED CUTTER: Tool bit with formed, nose cone like end for cutting deeper paths; usually used for glass engraving.

SOUNDING BLOCK: Accessory that is struck with gavel to make noise.
Part of a gavel set.

SPACE, NEGATIVE/POSITIVE: Graphic term for layouts; positive space involves area occupied by characters, logos or other artwork, while negative space is area left blank. Negative space also called white space.

SPINDLE: Assembly for rotating bit cutters including tool bit, sleeve, depth nose, micrometer, pulley for connecting spindle to motor for rotary engraving.

SPOOL: Process where computer takes files sent to output device, such as engraver, and puts it in electronic queue, or waiting area, to be produced in turn. File is transferred front main production or design software, allowing program to handle work on another file.

STEP-AND-REPEAT. Action where engraving tool completes a job and moves to a new starting point (step), and then duplicates the job (repeat). If controlled by software, function usually also calculates the number of step-and-repeats possible for the sheet of substrate being engraved.

SUBLIMATION: Process where an image is printed by turning ink or toner, by heat and pressure, into a gas, which then impregnates itself into a substrate or a special coating on a substrate. Sublimation most-often done in awards/recognition industry by printing a transfer, using a laser printer and special sublimation toners.

SYNTHETIC STONE: Man-made material with a finish to simulate the feel and look of natural decorative surfaces such as marble. Familiar trade names include Corian and Fountainhead.

T-SLOT. Channels in engraving-table surface 1 that hold special clamps for holding-down substrates. T-clamp goes into slot like upside. down “T”.

TABLE: Surface on engraving machine where substrate is placed for engraving. Can refer to entire surface, or only area where engraving tool can work (see production area). Tables can be stationary, or move along Y axis.

THOMPSON RAIL: Metal cylinder on which engraving machine’s gantry or engraving table moves. Rail construction and design for holding gantry allows for less vibration and more-accurate work.

TOOL DIRECTION: Course that tool takes in a job. Since tool bit’s actual rotary spin is clockwise, direction that the spindle travels can be set Clockwise or counter -clockwise for type of cut (with or against the bit’s spin) desired.

TOOL IN/OUT. Position and speed at which tool enters substrate. Control of variables such as placement and velocity of Z-axis movement of tool into material can affect accuracy of tool path and vibration, especially with harder substrates.

TOP-LOADING SPINDLE: Tool holder on engraver where shank with bit is affixed with a cutter knob (which see) and then screwed in, counter clockwise, into the spindle.

TWO-PLY, THREE-PLY. Substrate with thin top layers of contrasting colours. As top surface is removed, substrates of different colours are exposed, giving look of fill. Two-ply denotes one different coloured layer on a substrate; three-ply notes two different colours.

TYPEFACE: Family of fonts; defines overall similarity of style. Typefaces include all fonts with same specific design and identifying name, such as Helvetica, Times, Univers, Futura, etc.

VACUUM TABLE. Surface where hold-down of substrate for engraving is done by air suction, as opposed to clamping. Suction usually provided by vacuum pump.

VACUUM PUMP: Device that creates vacuum in a small chamber. Since air always looks to fill a vacuum, air intake is connected in engraving to devices such as vacuum tables. Sometimes also connected to spindle-mounted chip-removal systems.

VECTOR: Line designated by beginning and end X-Y co-ordinates. Combinations of vectors make up the images understood and used by output devices such as engravers, vinyl-cutting plotters, etc.

YECTORIZATION: Process of taking raster-based images and drawing (or automatically tracing) outlines closely conforming to shapes of those images. Outlines become vector-based images and, for engraving, tool paths. Vectorization is process used in taking images brought into computer by scanning and making such art engravable. Vectors to store and represent images

WMF: Windows Metafile. File type to imported and used by some engraving programs.

Z-HOME: Perpendicular position on that engraving tool returns to after fi any engraving action in a job. Setting for particular job and substrate often zero out.

Z-REST. Starting or home position of tool along Z-axis

Z-STROKE: Amount of distance tool can in up-and-down (perpendicular) di along Z-axis.

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