#plywood cutter

[altendorf-group-india]

The Best Plywood Cutter for Your Workshop: Unveiling the Altendorf F 45

For woodworkers, conquering plywood projects requires a machine that matches their ambition. Enter the Altendorf F 45, a plywood cutting machine that isn't just another tool in the shed; it's a powerhouse engineered for precision, efficiency, and the satisfaction of achieving flawless results. Is the F 45 the "best" plywood cutter for your workshop? Let's delve into its features and see if it fits the bill.

Powerhouse Performance:

Imagine effortlessly gliding a thick sheet of plywood through the saw, achieving a clean, splinter-free cut. The F 45 makes this a reality with its robust 5.5 kW (7.5 HP) motor. This industrial-grade powerhouse tackles even the most demanding plywood projects without bogging down. Say goodbye to wasted material and time spent wrestling with underpowered machines. The F 45 delivers clean cuts consistently, saving you money and frustration.

Precision Cuts Reign Supreme:

Accuracy is paramount in professional woodworking, and the F 45 doesn't disappoint. With a maximum cutting height of 204 mm and a rip capacity of a whopping 1600 mm, you can handle a vast array of plywood projects. Whether you're crafting intricate cabinetry or building large-scale furniture, the F 45 provides the cutting accuracy you need to bring your vision to life. No more worrying about misaligned cuts or wasted sheets – the F 45 ensures every cut is perfect.

ElmoDrive: The Magic of Control at Your Fingertips

Imagine a system that anticipates your needs. The F 45 boasts the revolutionary ElmoDrive technology, putting you in complete control of the cutting process with phenomenal precision. ElmoDrive allows you to:

Electronically adjust saw blade angles: Rise, fall, and tilt adjustments become effortless with digital controls, eliminating the possibility of human error and ensuring perfect angles for every cut.

Select variable cutting speeds: Optimize performance for different plywood thicknesses and desired finishes. ElmoDrive allows you to fine-tune the cutting speed for maximum precision and minimal material damage.

Benefit from real-time digital readouts for cutting height and width: No more guesswork or relying on rulers. ElmoDrive provides precise digital readouts for cutting height and width, allowing you to replicate cuts with unmatched accuracy.

With ElmoDrive as your co-pilot, achieving consistent, millimetre-perfect cuts becomes second nature.

Effortless Material Handling: No More Plywood Wrangling

Large plywood sheets can be cumbersome to maneuver, potentially leading to misaligned cuts. The F 45 eliminates this challenge with its expansive sliding table, boasting a maximum length of 5,000 mm. Imagine effortlessly gliding even the biggest sheets across the table for precise cuts. This smooth, controlled material handling minimizes the risk of errors and ensures your focus stays on achieving the perfect cut, not wrestling with the material.

Optional Automation: Supercharge Your Workflow (Optional):

For those who crave the ultimate in efficiency, the F 45 offers an optional CNC-controlled rip fence and crosscut fence. These intelligent features:

Move with incredible speed and accuracy: Eliminate time spent on manual adjustments with these lightning-fast, automated fences.

Provide digital readouts for fence position: Guarantee perfect cuts every single time with precise digital readouts.

Allow for the programming of complex cutting sequences: Streamline workflows for high-volume plywood projects. With these optional features, the F 45 becomes an automation powerhouse, ideal for professional workshops handling large-scale projects.

Safety First: Peace of Mind While You Work

Safety is a top priority in any workshop, and the F 45 doesn't compromise. A comprehensive suite of safety features ensures a worry-free work environment, including:

A protective guard that automatically covers the saw blade when not in use, preventing accidental contact.

Electronic safety systems that prevent accidental startups, keeping you safe throughout the cutting process.

User-friendly controls intuitively placed for optimal safety and ease of operation, minimizing the risk of errors.

With these features in place, you can approach each cut with confidence, knowing the F 45 prioritizes your safety while empowering your precision.

Built to Last: A Legacy of German Engineering

Altendorf is renowned for its commitment to quality, and the F 45 exemplifies this legacy. Meticulously crafted with high-grade materials, the F 45 is built to withstand the demanding environment of a professional workshop. This translates to a reliable machine that delivers exceptional cutting accuracy consistently, year after year. With the F 45, you're not just

investing in a machine; you're investing in long-lasting performance and a commitment to exceptional results.

The Best Plywood Cutter: Is the F 45 Right for You?

The Altendorf F 45 undeniably stands out as a top contender in the world of plywood cutting machines. However, with its premium features comes a premium price tag. Here are some factors to consider when deciding if the F 45 is the "best" cutter for your workshop:

Workshop Space: The F 45 has a large footprint. Ensure you have ample space to accommodate it comfortably.

Project Requirements: If you primarily work with smaller plywood sheets or have limited cutting needs, a less powerful machine might suffice.

Budget: The F 45 is a high-end machine. Be sure it aligns with your budget and long-term woodworking goals.

Beyond the F 45: Exploring Other Options

Altendorf offers a wide range of sliding table saws to cater to diverse woodworking needs. If the F 45 doesn't perfectly fit your requirements, consider exploring their other models. You might find a machine that offers the perfect balance of features and price for your specific needs.

The Final Cut: A Powerful Investment for Serious Woodworkers

The Altendorf F 45 isn't just a plywood cutter; it's a statement of dedication to precision and efficiency in professional woodworking. It empowers you to conquer even the most challenging plywood projects with confidence. If you're a seasoned woodworker seeking to elevate your craft, streamline your workflow, and achieve unparalleled results, the F 45 might be the best investment you can make. However, for hobbyists or those with limited space or budgets, exploring other wood cutting table saw machines might be a more practical option.

Regardless of your choice, the F 45 sets a benchmark for what a professional plywood cutting machine table saw can achieve. So, carefully evaluate your needs and workshop setup to find the perfect machine to take your woodworking journey to the next level.

[ortur]

Laser Engraving Machines

We are professional laser engraving machines manufacturer company that provides various models to meet your laser engravers & cutting needs. We specialize in high-quality engraving and cutting products.

[jjanewillow]

fuck you, overpriced one room apartments

the roof of the old house I always wanted now sticks out like a sore thumb

in the fading field I always dreamed of running through

gaudy cookie-cutter plywood apartments stand

on their popsicle stick stilts

never touching the beautiful earth they stole

never knowing my longing

unmoving with my selfish words

because it's final in this lifetime

that's all there is to it, that's the way the cookie crumbles, life isn't fair

I'll never have it

I'll never cross the threshold of that rotten front door

and while I sit and seethe

I mourn those stupid dreams

and I hate to have to disappoint the little girl in me

[aoxizu]

day 90 of saving for jing yuan rerun: forgot to post yesterday

it turns out that the laser engraver we have at the school is very fun to play with

i took pictures from wikimedia commons and i'll still need to sand the edges and faces down but otherwise check out my two aces

this is by the way how i won all of that money in my other post

i actually did, in fact, have two aces (:

on a different note i now want to test the limits of the laser engraver and see how well it does with color

i also want to try using a piece of solid wood rather than plywood and see how durable that is, and the answer is probably going to be not at all but it still could be fun

and i want to try engraving card backs on these as well but that might take more precise alignment

next step: plasma cutter

i'm going to try doing the exact same thing but on the plasma cutter, which is more annoying because it requires a specific vector file type, but also it is cooler because it would be metal

but then the problem is trying to keep the capital a in the shape of an a even when cut out

and then once cut out trying to not fatigue the metal when chiselling the dross off so the inside of the a doesn't just fall out

anyways

13 days left until jing yuan rerun, that's less than two weeks (:

[whump-captain]

it's been like 10 years since i posted any writing and this isn't even whump lol. but ive been rotating Joy in my head for weeks now and had to give her something to do. this is part of Fruit of the Glass Tree, so the earliest story with these guys

---

CN: animal death (not shown but bodies described in detail), descriptions of animal waste, mentions of death and injury, fear.

---

On the fifth floor, Joy finally finds some walls.

The rest of what she's seen of the building has been stripped of the dignity of an interior. Only lines of chipped plaster have remained on the floors of the previous levels, outlining where the rooms were before the whole tower has fallen into disrepair.

What greets her behind the creaking door of the stairway is a broad, L-shaped corridor, angling left after three pairs of evenly spaced doors. The walls themselves look as bare and fragile as all the others, with rectangular white patches left in the wake of ripped off wallpaper and a single, shallow inset guarded by the fangs of snapped hinges. The windows are no longer exposed. It barely takes two steps for the scant moonlight from the stairway to lag behind Joy, leaving her in cold, powdery darkness.

She clicks the torch on. There's nothing to cast shadows and all that the light manages to bring out is the horrid brownish shade that the carpet has turned over the years. The doors are all missing their handles.

Joy pushes the closest one and finds it locked. Relief blooms in her chest but then the varnished plywood creaks and she starts. Her heart picks up the pace. Something compels her to turn around, like a hand on her shoulder, pulling. The beam of her torch again finds nothing. No movement, no silhouette. One of the doors is slightly ajar, revealing a thin wedge of absolute darkness. Something else creaks somewhere.

She's on edge. She ignores the open door and tries the next one. The lock gives with a click and her arm shakes as she swipes it down in front of her before stepping in. The room is as empty as every other part of the building. The window lets in enough light to catch the dust floating in the air and Joy fights the urge to fix her facemask. She's checked it thoroughly, no need to fiddle. Her fingers pick at the hem of her jacket.

She rests her hand on the radio clipped to her belt. She wants a human voice to dispel this unsteady, oppressive silence. But she also wants her ears open for when the next sound is not innocuous.

She leaves the empty room. If she does radio Cutter, he'll probably just go on about ghosts again and that's the last thing her fraying nerves need. Another door turns out closed and this one leaves behind a residue of something tacky on her glove. A bare metal bolt sticks out of where the handle used to be.

Another empty room, gutted but for a concrete column in the middle. Another creak somewhere, a dry rattle of debris. There's a crack across the wall, exposing lines of rebar like tendons. A stench of rot hangs in the air and Joy's stomach turns when her boot swipes across a rough surface. Dry patches of hardened bird excrement stain the carpet in disgusting off-white.

She leaves the door open and the smell follows her. It grows stronger as she crosses the corridor and more white blotches make the floor look like moulding bread. It feels the same underfoot.

Joy looks up at the ceiling. It's flat and the paint has long since peeled. When she stomps the floor to check it, the air remains still.

When she opens the next door, she almost retches. The backdraft of the stench sends her staggering back and coughing. Torchlight flits frantically across bare walls. Joy pulls her scarf over her face, ignoring the shift of her facemask, and blinks to clear away tears.

This room does have furniture in it - low-backed chairs, desks, half-collapsed filing cabinets with no shelves. They’re barely recognizable, their outlines blurred by inch-thick, lumpy layers of excrement, streaking in grey rivulets down every flat surface. The carpet looks like it's corroded. Everything is congealed into a horrid, nauseating monochrome.

Joy slams the door shut, face hidden in the crook of her elbow. It barely helps. The whole corridor now reeks more than anything she’s ever smelled and she doubles back to the first room. The cracked window lets in blissfully fresh air and she stands there for a long moment, waiting for the smell to stop clinging to her skin.

Her breathing, muffled by the facemask’s filter, sounds like howling wind in her ears. Everything else is deadly still, not even an echo of her footsteps remaining of the commotion she’s made. Not on this floor, not on any others.

A part of her is grateful for it. No sound, no movement - no danger. No other life here besides her.

The empty room feels like a bare ribcage, picked clean by scavengers and maggots. The silence sticks to her more than the stench did. She grabs her radio.

"Cutter, come in,” she whispers into the microphone.

No echo again. For a moment, there is no sound but her heartbeat. It almost deafens her at the thought that she might not get an answer.

But then static cracks and a cheerful voice comes through:

"Home base receiving."

Joy breathes out. She pushes away the scenario that her mind has already half-knitted: silence, tension, a long way back, and a corpse under the rubble. But she's okay. She’s not alone in this wretched building just yet.

“Any news?” Cutter asks through the radio as if they’re discussing the weather.

"I found pigeon poop. Whole room of it.”

There’s a short pause. "That's disgusting."

"Yeah.” She doesn’t even consider laughing. Her mind adds up the sights, the sounds, and everything else she has seen on this floor. The equation doesn't resolve. “But where are the pigeons?"

The static dies out. The stillness stretches. Joy feels the facemask stick to her cheeks and the dust to her hair. Despite all the noise she’s caused, not a single pair of wings has fluttered anywhere in the building. No other life.

“I haven’t seen any,” Cutter says.

“Me neither. Nothing flying, nothing- scared away.” She looks at the window, straining to see into the night through the dirt and graffiti stains. “I’d hear them by now.” She can’t keep the shake out of her voice. “Or they’d hear me.”

Cutter laughs and it comes through the radio as a clipped buzzing sound. “I definitely heard you. Do you have something against that floor, with the way you’re stomping on it? I thought it was gonna give out.”

The sudden joke gives Joy whiplash but she defends herself: “It’s called safe movement. It’s so that when it does give out, I am not standing on it.”

“Ouch, too soon.”

She closes her mouth, realising. “I didn’t-” she stutters, then sighs in defeat. “I don’t mean-”

“I know, I know. Just kidding.” Cutter laughs again. Then he asks: “Are you okay up there?”

Joy takes her thumb off of the push-to-talk button. There’s still some apparitional hand tugging her shoulder, bidding her to turn around. The corners of the room, coveting their shadows like veils, whisper threats. There could be anything in the darkness. Or there could be more stale, suffocating, plasterboard nothing.

“I’m fine,” she says to the radio. “I’m gonna search the rest of the floor. Going quiet.”

“Copy that, over and out.”

She lets herself breathe the clear air a little while longer, as if trying to commit it to memory. The corridor looks less imposing the second time she faces it; one more door is closed, another leads to one more empty room. She holds her breath stepping over the bird waste but her eyes still water at the smell. With her shoulder to the wall, she sweeps her torchlight around the corner. There are two more doors, larger this time, and chips of brick mix with old dust on the floor between them.

Ahead, the hallway opens up into a chamber. Windowless dark sticks to the heavy forms of two square columns on either side, visible past the wide entrance which is missing a two-winged door. Stiff sheets of plasterboard overlap into a choppy surface on the floor and bare concrete shows on the walls that they’ve been ripped from. An empty picture frame leans against the wall - the first item Joy has found in the building. The metallic plating has come off of its corners and the glass is shattered into a spiderweb pattern.

There are more off-white stains there, less visible on the white debris and more spaced out. Joy grimaces. She stomps the floor and something snaps under her boot. Though she flinches back, nothing collapses. It will be difficult to tell the state of the floor when it's covered like this.

The light of her torch infects the walls with a sickly blue tint. The flakes of paint and crumbling bricks give the shadows peaks and valleys to play in and their skittering movement follows Joy’s as she drags the light up and down the right side, floor to ceiling. It doesn't reach all the way but it's clear there are no more doors; no way through.

On the left, the light refracts into glittering lines. Another picture frame lies abandoned among the mess. Its long shadow stretches forward to the far wall and just before it, it meets a row of columns. They're thin, unevenly spaced, and as they climb, they grow even thinner. Then they spit the light out behind them in a rain of dancing colours.

They're solid glass, smooth and bulging like knotted bark. There are swirls of cloudy pink dulling them from the inside; faint here, completely opaque elsewhere. On the tip of each of them, like the jewel on a sceptre, hangs an exquisite glass sculpture of a bird.

Joy steps forward and glitter light showers her, reflected from the outstretched, frozen wings; from the pinhead domes of eyes. The sculptures are half-opaque too, muddled with dark patches under the iridescent surface.

They split into colours as she approaches and she recognizes red; then black, then grey. Then white, in curved streaks of exposed, splintered ribs. Then more red, cloudy and swirling all the way down the glass spikes from the skewered corpses of pigeons, encased in translucent prisons.

Joy covers her mouth. Her stomach twists and her knees wobble. Her body refuses to move. She can't pull her eyes away from the decomposing birds and she feels them etch into her memory, burning like sunlight. One of the pigeons stares back with its single remaining eye, distorted by the curve of the bare socket it's leaking out of. There are still feathers sticking out of one of its wings; the other is a dark crimson pulp of half-melted muscle and blood seeping out into the glass.

When Joy's legs finally move, they carry her mercilessly forward. Her hand leads, pulled by the rein of dancing reflections. The glass is warm to the touch, even through her gloves. With a quiet scrape the bird tips back and snaps away from its stalk.

It shatters like a bottle of wine and red liquid explodes onto the floor. Joy shouts and jerks back. She almost loses balance, clutching her hand to her chest as if she's been burned. A single red drop stains the tip of her boot and she can feel it through the fabric like shrapnel. Her mind doesn't even register the stench of decay; nor the grinding sound that comes from the broken statue. Everything drowns in the single tone of terror that fills her ears as she watches the glass spike twitch and then grow in a nauseating, slithering motion. It climbs the inches it has lost with the bird's body and then falls still again.

The silence locks around her. The dead birds demand she stops breathing as well, they steal the oxygen out of the room. She yanks the radio off of her belt, grips it with both hands and chokes out:

"I found the birds." Her fingers slip, she has to press the button again. A horrible buzz from the speaker drowns out her words: "They're all dead."

The radio drops and hangs on the cord attaching it to her belt loop. She squeezes her eyes shut and tries to breathe. The buzz means two people have sent at once. Joy uses the moment of wait to force herself to stop shaking.

"Repeat that?" Cutter says on a click of static.

"The birds." Some of her control returns but now she can't find the words. Her gaze keeps dragging back up from the radio's blinking light. "Bodies," she manages. "I'll- I'll show you. I'm coming back."

There's a moment of silence and then, "Okay." Joy senses he wants to say more and is grateful that he doesn't.

Eyes still down, she retrieves her pocket camera. The lens extends with a laboured whirr and the display greets her with a half-full battery icon. Relief pours over her and melts some of the ice in her stomach. Whatever anomaly has drained her phone is slower to claim the old-fashioned double-As, it seems. The dim glow of the familiar screen is like a lighthouse in a storm.

She trains her eyes on it as she takes several photos of the pigeons; the ones suspended and the one splattered on the floor. As if seeing them through layers of lenses and pixels could disconnect her from the sight. She gets the close-ups with digital zoom. The macabre display's horrible beauty invites her closer. She squeezes the camera's button so hard, the shutter clicks three times in a row.

She backs away to the corridor; it's out of the question to turn her back on the bodies. Only when they disappear into the dark does she dare to turn around. The hallway looks foreign, the empty walls seem to gain a new, alien shade of white. The floor creaks. Joy sweeps her foot in an arc in front of her, shifting the dust. Then she stomps. Then she swipes her hand down through the air.

Nothing collapses, no hanging wires get caught on her glove. She knows that already. She’s checked the hallway, checked every inch of the floor. But the ritual of safety grounds her, brings her mind back into focus. Sweep, stomp, swipe; it’s a rhythm. A clear, simple action she can take to protect herself. From some things, at least.

She reaches the stairway in a trance. Sweep, stomp, swipe. Over and over, taking up all her thoughts. Right until the radio cracks and Cutter’s voice comes through:

"Are you doing your safe movements now?"

"Yeah,” she says. She opens the door, checks across the doorstep. Then she stops. “Why?"

"Just worrying you'll bring more of the building down on me,” he answers.

But she doesn’t miss the tiny pause, the barely audible false note in his light tone.

"Why are you asking?"

There’s silence. It stretches into an eternity in which the blurred moonlight outside the window seems to take a cloudy pink hue.

"I think I heard something else walking."

[markwateneymemorialcrater]

Telescope box V2. After deciding to abandon my first attempt at making a box due to it being too heavy and an awkward size/ shake to carry. So I redesigned it using thinner plywood, made it long and skinny with castor wheels to allow shelling it around for ease of transport. And because it’s now thinner plywood, I was able to design it for the laser cutter. Making assembly much easier (Though at this point I’ve only dry fit it together)

Next step is to order the Castor wheels (thankfully I found some that had freaking CAD files I could download so I know the holes I cut in the corners for them will fit nicely)

Then I need to glue up, paint or stain (haven’t decided yet), install all the hardware (hinges, latches, wheels, handles), and then get some foam to line the inside.

When I put it that way, it sounds like a lot of fucking work still to do.

[raynbow-shimmer]

hello! 👋

How are you doing?

Hi there!

I'll put it under a break because I really don't want to bomb people's feeds with my *feelings* uwu

Well, I have been better. Adding the Au to my ADHD has been a whirlwind of emotions for me. Not all good ones either. I went in seeking to rule it out not rule it in. It explains a lot, don't get me wrong. But I am so scared of unmasking because I have seen how it can change people. I don't like change. I don't want to change. I'm very high masking, but I function very poorly as far as keeping a stable life goes. Executive function in the trash at all times.

If I were in the stages of grief I would be in denial or anger right now. I'm so tired. My subconscious self is going insane. And in turn, it's wrecking my mental health. Depression and anxiety like crazy. I had to sit in the car for 15 minutes yesterday so that I could gear myself up to ask someone to cut some plywood for me at Lowe's. My husband told me if I was that anxious I could just come back home. But no, I needed my damn plywood for my laser cutter. I wanted to puke coming out of Petsmart with some cat food because just being in the building and someone talking to me unexpectedly shook me up. I'm so sensitive right now.

And I can't cry. God damn it, I cannot cry to save my life. I get close, but the tears never come. Thanks mental health cocktail of meds. They keep me feeling ok and not severely depressed, don't get me wrong. But the side effect is that it is so hard to cry over sadness. I want to cry so badly. I just want a release of all these pent up emotions. Journaling only does so much.

It'll pass. I know it will. But it feels like I just pulled from the center of a new skein of yarn and got a ball of tangled up yarn barf. I can't cut the yarn, so I have to sit here and untangle my emotions. But I have no idea where the tail end of the yarn went. I can't find it in all the barf. Everything is a mess and my brain is tired. Everything seems a bit overwhelming and I don't feel like breaking things up into smaller chunks like I know I need to.

I was going to go to my local NAMI chapter meeting tonight, but I feel so on edge that I don't think I can go. There has been so much change in my life in the past few months so that probably isn't helping at all. I feel so busy doing nothing at all. My mind is always on, but my thoughts are at their normal pace. I think it's the subconscious that is bombarding me.

So, overall I just feel bombarded. By everything. I can actively feel the stress in my shoulders today. I feel the slightest bit dizzy just sitting at the computer. My dysautonomia flares up with stress, so it's dizzy time I guess. Kinda want to puke, ngl. So, not doing well, but I will get through it.

Thank you so much for asking, I needed to get that out.

[paulfc]

I knead to make some dough!

16 x 10 x 8 cm plywood automaton. 

The title of the piece is a response to the question "What does a poor baker say?"   

I am beginning to get used to my new laser cutter but the fact that I am making small automata on a machine with a bed about 5 times that my previous cutter had, has me hearing my tutors at Uni saying "You have to consider the scale of these things." 

For most of them bigger was inevitably better, one young woman in the year above me, who made the most beautiful but tiny prints, used to get this all the time and once turned in a 2 cm square print precisely in the centre of an A1 sheet of very expensive Hahnemuhle print paper.  She is on the academic staff there now.

[igoldenlaser]

Laser Cutter for Diy Toy & Art Craft Gift

Craft Laser Cutter- Laser Cutting Machine for Crafts

The craft laser cutter is the best for starting a business for the arts. It provides strong R&D strength and can provide excellent product quality and standard scientific management. IGOLDENLASER craft laser cutter can offer small thermal deformations, low noise, high cutting precision, no pollution, and automatic self-cutting.

When using a craft laser cutter we make sure that it can meet a wide application range, high machining precision, good quality, easy automation, flexible process, and more.  We offer OEM&ODM service with 7/24 after-sales service.

Crafts Laser Cutter Features

The craft laser cutter adopts international advanced technology and a unique cutting database to carry out different cutting materials. Below is the following features craft laser cutter:

Can cut a wider range of materials

Provide faster speed in productions

Better quality and lower cost

Offer lower power consumption

Can automatically avoid obstacle

Have a high power lasers

Suitable for different industrial applications

Art Laser Cutter

Art Laser Cutter Specifications

Below is the following specification for a craft laser cutting machine:

Working area ranging from 900*600mm to 2000*3000mm

Laser power from 60W to 200W

Single, dual, and four laser cutting heads are available

Honeycomb, blade knife, and mesh conveyor belt working table available

Optional camera system available

Straight-line speed up to 600mm/s

Supporting up to 20mm thickness materials

Cutting precision ±0.01mm

Application of Art Craft Laser Cutter

Craft laser cutters are made to suit the different applications for art. It helps to make a lot of things that use for homes, office, kitchenware, and other materials such as:

Plywood puzzles

Wooden toys

Acrylic crafts

Plastic decorations

PU leather artcrafts

Paper artworks

Fabric appliques and accessories

and many more.

Toy Laser Cutting Machine

CO2 Laser Cutter for Toy Production IGOLDENLASER offers a high-precision CO2 laser cutter for cutting and engraving materials to produce a variety of toys. These machines offer contactless and ultra-high precision processing methods. It can also cut and engrave a variety of materials such as wood, textiles, plastic foils, acrylic, and more.

With CO2 laser cutters, the materials for toy making are not clamped. Therefore, you can assure that this machine can cut materials even with the most complicated details with minimal waste and breakage.

IGOLDENLASER  offers custom laser cutting machines for toy production. The machines are designed to provide consistent high-quality cutting. Our toy laser cutting machines can offer burr-free edges. Thus, post-processing operation is not totally required. Our machines can provide you maximum efficiency in toy manufacturing because of their simple operation and high throughput rates.

IGOLDENLASER offers custom laser-cut toys according to your requirements. We offer factory direct supply machines and cost-effective rates. OEM/ODM services and designs are available to meet your needs. All our machines are guaranteed to have controlled quality, multi-functional, extreme cutting versatility, and precise cutting.

Due to the flexible processing of our laser cutting machines, it can produce different toys such as the following:

Model planes are made by cutting a balsa wood

Invitation cards made from cutting paper

Teddy bear by plush fabric

Model railway by acrylic

Toy balls by PU leather

and more.

Advantages of Our Laser Cutting Machines for Toy Industries

Our laser cutters are manufactured to provide advantageous processing to toy industries.

Complicated cuts with minimal material damage Doesn’t fray and offers precise cut edges

Performs cutting and engraving

Can process a variety of material Less material wastage

Easy to operate and manpower saving Affordable price and low maintenance fee.

IGOLDENLASER CO2 laser cutter

The CO2 laser cutter adopts CO2 laser source (CO2 laser cutting technology) to cut and engrave non metals and soft metals. Therefore, some people also call it dual use CO2 laser cutting machine or mixed laser cutting machine. And it is consisted of various CO2 laser kits, such as laser generator, laser cutting head, laser cutter frame, laser cutting system, laser lens, laser mirror, laser power supply, water chiller, air compressor, and other many CO2 laser CNC kits.

CO2 laser machine usually uses CO2 gas to process non-metal materials such as wood, paper, leather, cloth, epoxy resin, acrylic, wool, plastic, rubber, ceramic tile, crystal, jade, bamboo, etc. While the auxiliary gases include nitrogen, helium, xenon, and hydrogen is also permitted. Since CNC CO2 laser has high energy conversion efficiency of up to 25% and good stability, it can also cut some thin metal materials such as aluminum and brass. In addition, the CO2 laser power is optional. So you can choose a 40W CO2 laser cutter for sale, 50W wood laser machine, 60W acrylic laser cutting machine, 80W CO2 laser cutting and engraving machine, 100W laser engraver, 130W CNC CO2 laser cutting machine, 150W CO2 laser cutter, 300W wood cutting laser cutter, etc.

CO2 laser cutter Advantages

1.Wide range of processing: CO2 laser engraver can engrave and cut almost any non-metal material and has a very wide application in manufacturing industry, art industry, and medical industry.

2.Safe and reliable: adopting non-contact processing, CO2 CNC laser cutter for sale will not harm the surface of the machined part or deform the material.

3.Eco-friendly: the diameter of beam and spot is small generally less than 0.5mm, it has the features of material saving, safety and environmental protection.

4.High-speed and fast: it can immediately perform high-speed engraving and cutting according to the drawings output by the computer.

5.Low cost: it has low maintenance costs and only needs inexpensive replacement parts. Especially for small batch processing services, laser processing is cheaper.

[poeblissorton]

Plywood Laser Cut

I created multiple cogs made from plywood. I used a laser cutter to cut their shape. I used a laser cutter because I was using plywood, and plywood is the optimal material for what I plan to do with my project. I wanted to have 3D cogs, but creating them all out of sculpey would be far too time consuming and tedious, and they all wouldn’t look the same. So to combat this, I used the laser cutter which can create them in less than 10 minutes.

I have experience with a laser cutter, but only with a program called InkScape. I haven’t used Illustrator before, so I didn’t know what any of the buttons did or how to create an optimal design for the laser cutter to recognise.

To save time, I used a vector of a cog I found online. I found it difficult to create a path, which is needed for the laser cutter to follow. I. found it difficult because I didn’t understand what all of the options on illustrator did. Although I did know that I had to use the ‘trace’ option to get the desired line work. I also had problems with the program not being able to separate the traced lines from the actual photo, which was really annoying because I couldn’t delete the photo to see the linework.

The lines kept doubling up, There were two lines for each thick line it would trace from the image, but we eventually figured out how to remove one of them just to leave the lines I wanted. I copy and pasted them and changed their sizes to create variety in their shapes which would be useful for the project.

This was also another reason I created different sizes, they can be stacked on top of each other to create more interesting layered designs.

I sent this to print on the laser cutter. The laser cutter shows how long it will take to complete each cut, which is helpful for time management.

This is what the laser cutter looks like while it’s cutting the plywood, which is really cool to look at.

These are what all of the different sizes looked like after they were done. I didn’t do any more of the largest one, since they are too big to fit anywhere on or around the model. In hindsight, I could’ve done a few more sizes. Some of them are too big but the others are too small. Overall I’m really happy with how they look and I like how clean they are. I think the smallest one is interesting, the gear teeth are so small that they look spiky. I also think I could’ve had more variety in the size of the gap in the centre which would’ve added more for me to work with. I also decided to keep the inside pieces, as they might look cool on the model? I also think they’ll be useful for layering the fog pieces to create a three dimensional effect.

[dollsonmain]

Suffer my moment to breathe and think.

So the Wegman's cheese department bull pit was really great. It was a little crowded when we had 5 or 6 people at the same time during busy seasons but there was enough room for everyone to work without bumping butts with people working behind them.

So. The grey things were cold cases, and the black were mostly steel workstations with shelving underneath. The two green sticks represent a couple of wood cabinets with doors. Everything else was open.

The two rectangles in the middle were also steel workstations with shelving. We'd generally cut cheese or make cheese spreads or specialty things for the big feature case (on the bottom) on the center tables, and then we'd have to take it to the red scale to price and label. There was enough room on those tables for 4 cheese cutters and counter space to wrap and stack the cheese that was cut.

That was the only thing we had to take turns on. There was also a cart that was used for pricing and labeling, so whomever was pricing and labeling had the cart until they were done and then they'd hand it off to whomever needed it.

The purple are the BIG double sink, and the only place we couldn't easily see out onto the floor around us was right behind the sink because a splash guard was put there to make sure we didn't splash water on the food in the cold case on the other side. That splash guard was also used as a sign board and was where we'd post promotions and seasonal specials, etc. It was opaque black.

While washing dishes was the only time we weren't expected to also interact with customers. We were to wash dishes until the dishes were done, but the sink was right there with everything else and if a customer really needed someone who was washing dishes, we were available.

There were two small, open cold cases on either side of the big glass case, and on the other side of every work station was a half-wall and then another open cold case. The whole work area was surrounded by cheese that was easily available to customers and we were equally visible while we were working.

The only area that was different was the blue rectangle which was on a separate, smaller steel table because it needed to be lower down to be easy to use. That was the electric cheese grater we used to grind up Parmesan. Capital P, the real shit.

Exit 1 led to the olive bar, and exit 2 led to tea and the big cheese cooler.

We did have a large cooler and a large work room that we shared with the deli, though deli used the work room and we didn't because we didn't need to. That's where the ovens were.

We also had a smaller segment of another department's cooler elsewhere which is where olives were kept. For the most part, the cheese was put out immediately after it arrived which worked because the cold cases are plentiful (there were more along the wall that I didn't put in the picture) and if it wasn't put out it went into the cooler.

The whole section was very efficient. We were never bumping into each other or having to wait for one or another to get through a single entry. Clean up was VERY easy and if you asked nicely, whomever was washing dishes would wash yours if they didn't feel like dealing with customers at the moment.

It was a pleasant place to work even when it was busy.

The gas station bull put is stressful and inefficient.

One entry.

We are constantly in each other's way and if a vendor or customer follows us in there, we're trapped. If I'm on the opposite side of the store I have to book it all the way around and to the front to deal with a customer so you'll hear CLOMPCLOMPCLOMPCLOMP while I walk as fast as my disable old lady ass can manage.

Three registers though only two are for customers (the other is for the lottery).

Poorly built and designed glass cases in the front with glass tops so we can't put anything heavy on top (the registers are on chunks of plywood and cut up cabinet parts so they don't sit directly on the glass) and we can't see through the tops at all, so they might as well be wood.

The counters are completely covered in small displays and appliances so it's difficult to see out. They just replaced one small counter top display (lime green) with a taller one. I can see less out that side, now.

Blue things are fridges/cold cases the one in the back being where I have to make sandwiches (it's a narrow strip on top, not the whole top), orange is the little hot case that I'm not allowed to fill.

Purple are extra cigarette displays/storage and the chewing tobacco and tobacco-free pouches etc. plus an extra storage for that, too. One of those was also just replaced with a taller one. I used to be able to peek between there toward the darker green rectangle which is where customers wait, but I can't see through anymore.

I may have been a little too generous with the space available to walk around the purple displays.

Overhead at the customer place is the drop down cigarette holders.

The customer place is also the only place I can see out of relatively easily, though my view is cut off at the top by the cigarette drop-down.

There's a small marble-top table (brown) with a small shelf underneath that's supposed to be for working on sandwiches but there's always weird stuff on there, like there's been a filthy drawer slider on there since I started working there and a pen holder and papers.

Little grey thing is a tiny hand wash sink with no counter space around it. Can't wash dishes, there. Under the sink is a cabinet that is A. DISASTER. That's where cleaning stuff is kept.

The sink cabinet and the cabinet on the other side of the little table are missing a side, so stuff falls out around and under the table all of the time.

Under every surface that isn't blue is a cabinet with one shelf. They're full of random stuff. Not efficient nor effective storage. Nothing is labelled.

Every cabinet is painted chip board. The paint is sticky and wearing off.

It all butts up on a wall, and behind that wall is the tiny bit of storage I'd mentioned a while back and the big sink.

But like... I'd have to think long and hard about how to make that space more efficient because everything that's in there has to be. There's nowhere else for any of it.

[kvb222hanchu]

Week 2 - Workshop Attempts

In this project, I used the cutter to produce plywood into various forms and sizes. However, due to my limited experience with the cutter, I have not yet successfully cut along the intended sketch lines.

Since the task did not involve refining the pieces, I focused on constructing multiple works that explore different methods of achieving literal balance, while also striving to incorporate visual balance. Throughout this process, I discovered three balancing techniques:

1. Against: I positioned the largest piece upright and counterbalanced it by placing several smaller pieces against from its sides.

2. Mirror: Each side of the structure reflects the other. The aim was to achieve equilibrium in visual weight rather than exact physical symmetry.

3. Triangular: Putting a center line, evenly distributing weight on both sides, and converging three lines at a top point.

Achieving literal balance, but I have not construct visual balance as the wood pieces are not symmetrical and some smaller pieces have not contribute to the overall balance at all.

A noted drawback of this exploration is the lack of a relationship between the work and its surrounding site.

[yashtoolingsystem]

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[paulfc]

Dragon automaton

Laser cut plywood 24x22x10 cms. 

Having replaced my K40 laser cutter with a Neje max4 I am trying to adjust to not being able to cut acrylic and having to go back to using plywood to make automata.  

I have made a couple of very simple test pieces and wanted something a little more complex to play with and I like dragons, so this one is articulated somewhat after the fashion of a bicycle chain.  

Bit of a bodge job, I had made the stage before I realised how big the dragon would need to be and in this case the wings and legs are fixed to a body section which moves rather than being articulated themselves, the waves on the sea move although it is not really obvious in the video.

As I get used again to plywood automata, the next time I make a dragon it will have larger articulated wings and each body segment will move.

[igoldenlaser]

Laser Cutter & Engraver Machine for Wood

The woodworking is a craft as old as time, and there is a reason that it remains popular even today.  There is a certain, rustic beauty to wood which makes it a timeless material of choice for hundreds of applications.  Fortunately, laser technology has made it possible for woodworking to be easier, faster, and more accessible to amateurs and professionals alike.

Why choose a wood laser cutter from iGOLDENLasers?

Our machines have been utilised in a huge range of industries, from compact modern CNC machines for schools and workshops to purpose built machines for complete production lines.  With a wood laser cutter, you can drastically increase production whilst lowering costs.  Our British design and manufactured wood laser cutting machines are of the highest quality, leaving a feather-free cut so there is no need for a 'post process' to sand the edge – a major advantage compared to other machines such as routers.

It’s important to understand that we do offer a wide range of wood laser cutting machines for different requirements, so if you’re unsure on the best system for your specific application, it’s best to contact a member of our team.  That said, with any of our systems, you’re guaranteed a reliable wood laser cutter that marks and engraves most woods, as well as plywood and MDF, but they can also cut or engrave many other materials, including ceramics, stone, glass, card, paper and fabric.

For the full run down on the types of wood suitable for laser cutting and laser engraving, see the list below:

Alder

Balsa

Bamboo

Beechwood

Birch

Cedar

Cherry

Ebony

Fine wood

Genuine wood

MDF

Maple

Natural

Pine

Solid timber

Solid wood

VeneerAnd many more!

Having designed and manufactured wood laser cutters for a diverse range of clients, we have a strong understanding on our customers’ typical applications, and some of these include creating coasters, toys, wood inlays, gift box decorations and architectural models.

What is Laser Engraving And Cutting Machine? 

The laser machine is the general term for laser engraving machines, laser cutting machines, and laser marking machines. The laser machine uses its high-temperature working principle to act on the surface of the processed material, and at the same time draws patterns and texts required by customers based on the graphics input into the machine.

Wood Laser Cutter

In the past, creating custom wood pieces involved the use of a saw, perhaps a hammer, chisel, and a lot of elbow grease. Today, 3d wood laser cutters and engravers are two of the most popular options in the industry due to the versatility, reliability and insane accuracy. Laser technology is used for virtually any category of woodworking: from architecture and furniture to toys and crafts.

Insofar as laser cutting is concerned, wood can be separated into two distinct groups:

Natural timber from various species of tree. For example, maple or cherry wood.

Man-made wood manufactured by bonding wood pulp, fibers or shavings. For example, MDF or plywood

How thick of wood can a CO2 laser cut through?

Multiple factors are at work here but generally speaking a CO2 laser with 50 watts of power is more than capable of cleanly laser cutting thru 1/4″ wood (in a single pass) and up to 3/4″ with 150 watts. Factors such as the speed of the laser and the type of wood being processed will alter a laser’s wood cutting ability.  As an example, Cherry and Walnut can require up to 25% more cutting power compared to Maple.  And solid oak often requires even more.  We have a lot of experience with processing woods and have material processing charts you can use as a starting point.

All natural timbers can be cut by a CO2 laser at the 10.6µm wavelength. Limitations only apply with regard to thickness and the degree of charring that is acceptable to the customer.

Can any type of wood be cut and engraved with the laser?

Wood is an organic or natural material and is easily processed using a CO2 powered laser. However, factors within each type of wood will contribute to how the laser reacts such as the woods resin, content, and density and can dramatically effect the finished result. Soft woods including pines, cedar, or balsa wood will often require a reduction in laser power or increasing the laser head speed so as to prevent burn marks. On the other hand hardwoods need a higher laser power or slower speeds to effectively process. 

Special versions of wood laser cutter are made for specific wood cutting applications such as, for example,  laser cutting plywood for label dies. However, for the purpose of this article we are referring to a typical benchtop format laser cutter <100w.

For most industries laser cutting anything beyond 12mm natural timber and 9mm plywood produces an undesirable result because the feed rate (speed of cut) combined with optical limitations causes the wood to adversely burn.

When laser cutting wood the rate of laser fume extraction, particularly underside extraction and air assist delivered through the nosecone, can never be too much. When vaporised, wood produces a very dense fume that if not immediately evacuated from the cutting line will rise into the path of the beam and absorb laser power, significantly dropping the feed rate of the cut and in turn accelerating the degree of charring at the edge of the cut.

High amounts of debris from wood laser cutting machine can also contaminate laser optics causing them to fail prematurely and also cause HAZ (Heat Affected Zone), which is an undesirable staining to the edge and surfaces of the material.

In machines where the design of extraction is poor, surface HAZ can be minimised by first applying a low-tack, paper based tape to both surfaces of the wood. The tape acts as a masking barrier, attracting the contamination. After laser cutting the paper is removed and the wood surface underneath is clean.

Natural timber has a tendency to warp, which is challenging for a wood cutting laser as this causes the beam to defocus, producing undesirable results. Therefore, if the application calls for laser cutting of natural timber it is best to process the material as soon as possible after receiving it from the mill.

Man-made or engineered woods can contain resins that are actually designed to be fire retardant. This is unhelpful when trying to burn through the wood with a laser cutter!

 Therefore, if the application calls for using a form of engineered wood it’s wise to be very selective about the exact type of material you use. For example, plywood is most commonly available in a WBP or exterior grade. The resins used to bond this type of plywood are among the least laser friendly and will resist the laser cutting process, accelerating HAZ.

Interior grade plywood, sometimes called white glue plywood, is among the most laser friendly plywood’s. Not as commonly available as exterior grade, interior grade should be used as a preference for laser cutting if the job specification allows it as the resins in the material will vaporise much cleaner.

An often overlooked aspect is that of the surface finish of wood prior to laser cutting. If the part to be laser cut is the finished item then the surface should always be sealed/finished before it is laser cut. This reduces HAZ and any HAZ present can be wiped off with a slightly damp cloth. If however the material is to be post processed, such as sanding for example, then pre-sealing the wood is not absolutely necessary as the HAZ will be removed during post processing.

At Laser Systems we manufacture a wide range laser, marking and engraving solutions ideally configured for laser cutting and laser engraving wood. Our experts would be happy to recommend which configuration best suits your application.

[mallet45s]

The Art and Science of Tile Installation: Crafting Beauty and Durability

Tiles have been adorning human dwellings for millennia, from the intricate mosaics of ancient civilizations to the sleek, modern surfaces of contemporary design. At the heart of this timeless craft lies the tile installer, a skilled artisan who transforms spaces with precision, artistry, and technical expertise. In this comprehensive guide, we delve into the world of tile installation, exploring the techniques, tools, and knowledge that define this essential trade.

Understanding the Craft

Tile installation is not merely about affixing tiles to a surface; it's a multifaceted process that demands a deep understanding of materials, substrates, and design principles. A seasoned tile installer possesses a blend of technical skills and artistic sensibility, enabling them to seamlessly marry form and function in every project.

Preparation: The Foundation of Success

Like any construction endeavor, proper preparation is paramount in tile installation. Before a single tile is laid, the installer must meticulously evaluate the substrate to ensure it is clean, level, and structurally sound. Any flaws or imperfections must be addressed to prevent future issues such as cracks or unevenness.

Substrates vary widely depending on the project, ranging from concrete and plywood to drywall and existing tile. Each substrate presents its own challenges and requirements, necessitating adaptability and expertise on the part of the installer.

The Right Tools for the Job

A skilled tile installer is equipped with an arsenal of specialized tools tailored to the demands of the trade. From tile cutters and trowels to spacers and levels, these tools are essential for achieving precise cuts, smooth surfaces, and uniform spacing.

In recent years, technological advancements have introduced innovative tools such as laser levels and tile leveling systems, further enhancing the efficiency and accuracy of tile installation. However, even the most sophisticated tools are only as effective as the hands that wield them, underscoring the importance of skill and experience in the trade.

Materials Matter

In addition to tools, the choice of materials plays a crucial role in the success and longevity of a tile installation. From porcelain and ceramic to natural stone and glass, tiles are available in a myriad of materials, each with its own unique characteristics and considerations.

Adhesives, grouts, and sealants are equally important components of the installation process, providing stability, durability, and moisture resistance. Selecting the right materials for the job requires careful consideration of factors such as substrate type, environmental conditions, and desired aesthetic.

Precision and Patience: The Mark of Excellence

At its core, tile installation is a meticulous endeavor that demands precision and patience. From aligning patterns and creating seamless transitions to ensuring uniform grout lines and proper adhesion, every step of the process requires meticulous attention to detail.

A skilled tile installer approaches each project with a blend of technical expertise and artistic vision, striving to achieve perfection in every tile laid. Whether working with standard square tiles or intricate mosaic patterns, the installer's commitment to quality craftsmanship shines through in the finished product.

Challenges and Solutions

Despite careful planning and execution, tile installation is not without its challenges. Uneven substrates, irregularly shaped rooms, and complex designs can present obstacles that require ingenuity and problem-solving skills to overcome.

Experienced tile installers draw upon their knowledge and expertise to devise creative solutions to such challenges, whether through custom cuts, strategic layout adjustments, or innovative installation techniques. Adaptability and resourcefulness are key traits that enable installers to navigate unforeseen complications and deliver exceptional results.

The Intersection of Form and Function

Beyond its practical benefits, tile installation is an art form that has the power to transform spaces and evoke emotion. Whether adorning the walls of a kitchen backsplash or covering the floors of a luxurious spa, tiles serve as both functional surfaces and aesthetic statements.

A skilled tile installer understands the symbiotic relationship between form and function, balancing considerations of design, durability, and practicality to create spaces that are as beautiful as they are functional. From minimalist simplicity to intricate complexity, every installation reflects the unique vision and expertise of the installer.

The Future of Tile Installation

As technology continues to advance and design trends evolve, the role of the tile installer remains as vital as ever. While automation and prefabrication may streamline certain aspects of the installation process, they can never fully replicate the human touch and craftsmanship that define the trade.

In an increasingly homogenized world, the artisanal craftsmanship of tile installation serves as a testament to the enduring value of skill, expertise, and attention to detail. As long as there are spaces to be adorned and surfaces to be transformed, the art and science of tile installation will continue to thrive, enriching our lives with beauty and functionality.

Conclusion

In the hands of a skilled artisan, tile installation transcends mere construction to become an expression of creativity, precision, and craftsmanship. From the meticulous preparation of substrates to the careful selection of materials and the precise placement of each tile, every aspect of the process reflects the dedication and expertise of the installer.

As we celebrate the timeless art of tile installation, let us recognize and honor the talented artisans who bring beauty and functionality to our living spaces. Their commitment to quality craftsmanship ensures that every tile installation is not just a surface covering, but a work of art that enriches our lives and elevates the spaces we inhabit.