The Smell of Molten Projects in the Morning

Ed Nisley's Blog: Shop notes, electronics, firmware, machinery, 3D printing, laser cuttery, and curiosities. Contents: 100% human thinking, 0% AI slop.

Category: Machine Shop

Mechanical widgetry

  • Laser Cutter: Scan vs. Cut Alignment

    Laser Cutter: Scan vs. Cut Alignment

    Laser-cutting alignment pin holes in the most recent smashed-glass coaster raised the question of whether it’s feasible to engrave a deep recess around a hole with Good Enough accuracy for things like recessed screw heads.

    The test image:

    Scan vs cut offset
    Scan vs cut offset

    The top two rows create engraved recesses and cut holes from 1.0 to 1.5 mm and the next two rows run from 1.5 to 2.0 mm. The bottom row has 1.0 mm holes centered in engraved pits from 0.5 mm to 3.0 mm; obviously, the first hole will subsume its pit.

    The first pass looked promising, although the edges of the engraved pits seemed ragged:

    Scan vs cut alignment - first test
    Scan vs cut alignment – first test

    Perhaps the replacement power supply has different timing than the original one?

    I’m still surprised that the core of a laser-cut hole falls right out of the sheet, right down to a sliver from a 1 mm hole:

    Cut hole cores
    Cut hole cores

    Recalibrating the scan offset got the errors down to 0.1 mm in either direction:

    Scan offset - 300 200 mm-s 0.15mm offset
    Scan offset – 300 200 mm-s 0.15mm offset

    The lines in the middle column are spaced 0.15 mm apart at scan speeds of 300 mm/s (top) and 200 mm/s (bottom).

    Another test pattern puts an engraved rectangle inside a dot-mode cut line with 1 mm spacing on all sides:

    Scan vs cut alignment - 300 mm-s 0.15mm
    Scan vs cut alignment – 300 mm-s 0.15mm

    That’s wonderfully accurate!

    A few more test pieces later:

    Scan vs cut alignment - test pieces
    Scan vs cut alignment – test pieces

    Returning to the pits-and-holes test, with one engraving pass:

    Scan vs cut alignment - holes x1 engrave
    Scan vs cut alignment – holes x1 engrave

    That’s lined up to be looking directly down the 3 mm pit in the lower right, which looks fine.

    Two engraving passes makes the pits deeper (nearly through the 2.5 mm arylic) and somewhat messier, but still nicely aligned with the holes:

    Scan vs cut alignment - holes x2 engrave
    Scan vs cut alignment – holes x2 engrave

    Engraving the recess before cutting the hole seems to produce a better result, perhaps because both the engraving and the cutting encounter uniform surfaces.

    All in all, this worked out better than I expected.

  • High Impact Art: Coaster 5

    High Impact Art: Coaster 5

    This came out all glittery:

    Smashed Glass Coaster 5 - top view
    Smashed Glass Coaster 5 – top view

    Epoxy tinted with transparent black dye does a pretty good job of not obliterating the cracks between the cuboids. In person, the cracks seem less conspicuous around the borders of the glass pieces, but they’re visible enough for this ahem use case.

    Under the proper lighting, a few bubbles appear along and above the black layer:

    Smashed Glass Coaster 5 - oblique view
    Smashed Glass Coaster 5 – oblique view

    The new thing this time around were three pins holding the layers in alignment while the epoxy cured:

    Smashed Glass Coaster 5 - alignment pin
    Smashed Glass Coaster 5 – alignment pin

    The conical end comes from grabbing an 8 mm snippet of 3/64 inch steel rod in a pin vise and twirling it against Mr Bench Grinder for a few seconds.

    The pins pretty much dropped into 1.1 mm holes created while cutting the sheets. The tiny circles mark the laser path around the pin holes:

    Coaster 5 - layers
    Coaster 5 – layers

    The “holes” in the top sheet (upper middle) are in the Tool 2 layer so they’re not cut, because it was easier to match-drill holes halfway into the top sheet with the drill press than to figure out how to convince the laser to not punch all the way through. Engraving (along the lines of the earring borders) might work, but I’m not sure how well a high-aspect-ratio hole will engrave.

    The mirror sheet is reversed left-to-right in order to cut it from the back of the reflective layer. I’m not certain this is necessary, because acrylic is basically opaque to 10.6 µm IR light and any doubly attenuated reflected light will diverge strongly from the focus point at the top surface, but it’s the recommended procedure and easy enough to do.

    The cork cuts with its adhesive layer up and blue tape on the bottom to prevent soot from accumulating in all the surface crevices.

    The alignment pins worked surprisingly well:

    Smashed Glass Coaster 5 - edge alignment A
    Smashed Glass Coaster 5 – edge alignment A

    The top sheet sticks out 0.3 mm on one side:

    Smashed Glass Coaster 5 - edge alignment B
    Smashed Glass Coaster 5 – edge alignment B

    Oddly, there’s no place where the top sheet is indented by any noticeable amount, so there may be slight size differences depending on all the colors and ages in that stack of plastic sheets.

    I’ll cure the next one top-side down, giving the bubbles an opportunity to rise toward the mirror layer and maybe become less conspicuous:

    Smashed Glass Coaster 5 - curing
    Smashed Glass Coaster 5 – curing

    The tricky part: finding and arranging glass chunks within a 100 mm circle!

    Avoiding narrow gaps and acute angles in the perimeter, as the notch on the left side, should simplify draining the epoxy.

  • Tour Easy: Chain Drop Pin

    Tour Easy: Chain Drop Pin

    Every now and again, an upshift to the large chainring on my Tour Easy would go awry and drop the chain off the outside, where it would sometimes jam between the pedal crank and the spider. In the worst case the flailing chain would also jam in the TerraCycle idler, but I fixed that a while ago.

    Contemporary chainrings (i.e., anything made since the trailing decades of the last millennium) generally have a chain drop pin positioned against the crank specifically to prevent such chain jamming.

    Making a chain drop pin is no big deal if you’ve got a lathe and an M4 tap:

    Tour Easy - DIY Chain Drop pin
    Tour Easy – DIY Chain Drop pin

    A closer look:

    Tour Easy - DIY Chain Drop pin - detail
    Tour Easy – DIY Chain Drop pin – detail

    That’s a 10 mm length of 5/16 inch brass rod drilled with a recess to fit the head of a 10 mm M4 socket-head cap screw.

    The pin should be a micro-smidgen shorter, as it just touches the crank, but, if anything, moving the chainring inward by one micro-smidgen improved the upshifts and I’m inclined to go with the flow.

    Should’a done it decades ago …

  • Champion Hose Nozzle

    Champion Hose Nozzle

    An old brass hose nozzle emerged from my garden hydraulics toolbox when a much newer plastic nozzle failed. Unfortunately, this one leaked a bit too much to serve as a replacement, so I grabbed it in the vise while pondering how to disassemble it:

    Champion brass hose nozzle - disassembly
    Champion brass hose nozzle – disassembly

    It turns out the knurled ring is threaded into the nozzle and, even at this late date, responds well to gentle persuasion with a Vise-Grip:

    Champion brass hose nozzle - parts
    Champion brass hose nozzle – parts

    The washer is a lost cause, but I managed to find an O-ring that fit perfectly in the space available. Clearing some crud around the nozzle hole and buffing up the matching conical section improved its sealing ability, so I’ll call it a win.

    The word ITALY stamped opposite CHAMPION suggests this thing might be as old as I am; it’s been a while since either brass or Italy was competitive in the world of cheap manufactured goods.

  • Mini-Lathe: Adapting a Five Inch Four Jaw Chuck Adapter Plate

    Mini-Lathe: Adapting a Five Inch Four Jaw Chuck Adapter Plate

    The kludge required to trim the coaster rims disturbed the silt enough to reveal a long-lost 5 inch 4 jaw chuck that fit neither the old South Bend lathe nor the new mini-lathe. In any event, the chuck does have an adapter plate on its backside, it’s just not the correct adapter plate for the spindle on my mini-lathe.

    Making it fit required enlarging an existing recess to fit the spindle plate, a straightforward lathe job with the plate grabbed in the 3 jaw chuck’s outer jaws:

    5 inch 4 jaw chuck - boring spindle recess
    5 inch 4 jaw chuck – boring spindle recess

    Carbide inserts don’t handle interrupted cuts very well, but sissy cuts saved the day. The plate is kinda-sorta cast iron, so the “chips” are dust and a vacuum snout reduces the mess; you can see some chips inside the bore.

    A faceplate for the mini-lathe lathe located three holes matching the spindle plate, after I noticed the amazing coincidence of both parts having 26 mm bores. Making an alignment tool from a scrap of 3/4 inch (!) Schedule 40 PVC pipe was an easy lathe job:

    5 inch 4 jaw chuck - adapter plate alignment
    5 inch 4 jaw chuck – adapter plate alignment

    Transfer-punching those holes produced pips on the chuck side of the adapter plate:

    5 inch 4 jaw chuck - spindle bolt spotting
    5 inch 4 jaw chuck – spindle bolt spotting

    I thought about freehanding the holes, but came to my senses:

    5 inch 4 jaw chuck - adapter plate drilling
    5 inch 4 jaw chuck – adapter plate drilling

    Of course, the Sherline lacks enough throat for the plate, so each hole required clamping / locating / center-drilling / drilling / finish drilling. With all three drilled, hand-tapping the threads was no big deal:

    5 inch 4 jaw chuck - rebuIlt adapter plate
    5 inch 4 jaw chuck – rebuIlt adapter plate

    Those are M8×1.25 studs from LMS (although the ones I got look like the 30 mm version), with the long end sunk in the adapter plate to put the other end flush with the nut on the far side of the spindle plate:

    5 inch 4 jaw chuck - installed - spindle nuts
    5 inch 4 jaw chuck – installed – spindle nuts

    And then it fits just like it grew there, although the jaws don’t have much clearance inside the interlock cover:

    5 inch 4 jaw chuck - installed - front view
    5 inch 4 jaw chuck – installed – front view

    Now I’m ready for the next set of coasters and, if the jaws stick out too far, I can gimmick the interlock switch for the occasion.

    If the truth be known, I ordered two sets of those studs along with the 4 inch 4 jaw chuck intended for the mini-lathe, so, if anything, I’m now over-prepared.

    The description of the 4 inch chuck seems inconsistent with its listed dimensions, which may be why I ended up with the larger chuck in the first place. You can never have enough chucks: all’s well that ends well.

  • Smashed Glass Coaster: Conformal Perimeter

    Smashed Glass Coaster: Conformal Perimeter

    Snugging the perimeter around the smashed glass fragments definitely improves the result:

    Smashed glass coaster - top view A
    Smashed glass coaster – top view A

    It’s just under 100 mm = 4 inch across the longest dimension and surprisingly glittery:

    Smashed glass coaster - top view B
    Smashed glass coaster – top view B

    The coaster is a five-layer sandwich half an inch thick:

    Smashed glass coaster - edge view
    Smashed glass coaster – edge view

    From the top:

    • Clear acrylic: 1.5 mm = 1/16 inch
    • Black acrylic: 1.5 mm = 1/16 inch
    • Clear acrylic: 3.2 mm = 1/8 inch
    • Mirror acrylic: 2.7 mm
    • Cork: 2.7 mm cut from a standard round coaster base

    The smashed glass pieces sit atop the mirror, so the trick is making the layers around it add up to the same thickness. This is not possible by adding the nominal dimensions, because cast acrylic sheet thickness isn’t well controlled; I’ve finally written the actual (metric!) thickness on the sheets so I can select which 1/8 Inch sheet has the proper thickness.

    A chipboard template (seen atop the finished coaster) verified the glass pieces fit easily within their openings:

    Smashed glass coaster - top view - fit template
    Smashed glass coaster – top view – fit template

    I laid the clear frame on the mirror, poured generous epoxy puddles along the middle of the fragment openings, eased the glass in place, and gently pressed the slabs down to get a uniform epoxy layer, with the excess oozing under the frame all around. Then lay the black frame around the glass atop the clear, squirt more epoxy along the gaps around the glass, pour more epoxy atop the fragments, ease the top sheet in place paying considerable attention to coaxing the bubbles along to the edge, align the sides, and wait.

    The epoxy cured while stuck atop a styrofoam pillar to let it drain smoothly off the edges:

    Smashed glass coaster - epoxy curing
    Smashed glass coaster – epoxy curing

    I encouraged the epoxy out of the acute corners, as shown by the larger puddles, over the next few hours until the epoxy stiffened up. Those puddles also show the transparent black tint, to the tune of four drops in 8 ml of epoxy, which turned out to just barely suffice for the job. The whole assembly sat level while curing, but the layers didn’t remain aligned even after gently shoving them around while the stack cured.

    The black epoxy joins nicely with the black frame layer to conceal most of the remaining bubbles. A different color frame with matching epoxy might looks less ominous, but colors more transparent than dark gray would likely reveal the bubbles.

    It Would Be Nice™ if the acrylic sheet on the top had a transparent plastic film cover, but it arrived with brown paper on both sides. Despite that, I spattered only a few tiny drops on the bare surface and managed to scrape most of them off without further damage.

    Overall, I think the conformal perimeter looks much better than the polygonal outline smashed glass coasters.

  • Smashed Glass Earrings: Sample Set

    Smashed Glass Earrings: Sample Set

    The POC earrings had a pair of 1.5 mm acrylic disks epoxied around the glass fragment, with the “gold” ring captured in a rebate around the rims. That process was both tedious and messy, so I tried laser-engraving a deeper rebate into a 3 mm sheet, then epoxying the fragment and the ring in place:

    Earrings - epoxy curing
    Earrings – epoxy curing

    They’re stuck to a strip of Kapton tape to keep the epoxy off the bottom surface of the glass, while aligning it with the surrounding disk.

    Peeling the protective film / plastic off reveals the acrylic disk:

    Earrings - 25 20 16 12 mm first look
    Earrings – 25 20 16 12 mm first look

    They all required more effort to remove the epoxy remaining around the ring, but it worked out better than I expected.

    A lighter background shows off their internal structure:

    Earrings - 25 20 16 12 mm set
    Earrings – 25 20 16 12 mm set

    A closer look at the pairs:

    • Earrings - 25 mm pair
    • Earrings - 20 mm pair
    • Earrings - 16 mm pair
    • Earrings - 12 mm pair

    As always, glooping clear epoxy around the edges fills many of the internal cracks and reduces the glittery aspect of all those glass-to-air-to-glass interfaces, but I don’t see another good way to keep the fragments under control.

    The results may not be up to a “fine jewelry” standard, whatever that may be, but a slipcase box definitely improves the presentation:

    Earrings - presentation case
    Earrings – presentation case

    If I had the courage of my convictions, I’d go for the Mr Clean look myself, but …