For the Computer Controlled Cutting week, I designed a modular Shadow Box. This project is ideal for demonstrating parametric design, as it requires multiple layers to fit perfectly within an external structure, accounting for both material thickness and the laser's kerf (material loss). Also, for this week I will be consulting our Group Assignment.
Laser cutting is a digital fabrication process that uses a beam of light to cut or engrave materials based on a vector design (DXF/SVG). The result depends on parameters like the power and speed, which must be adjusted according to the material that it's going to be used.
Parametric design is a modeling method where dimensions are controlled through variables and relationships instead of fixed measurements. This allows the design to update automatically when modifying a parameter without changing everthing.
I first created a variable studio in Onshape to organize all the main measurements of the design in one place. Here I will include parameters such as thickness, kerf, tab sizes, spacing and flexible structure dimensions.
After creating the variables, I linked some dimensions using equations and proportional relationships. This allowed the design to scale consistently while keeping balanced proportions and press-fit dimensions.
To achieve a press-fit assembly without glue, we need to compensate the laser kerf in the joints. Based on the group assigment tests, the kerf for the 2.7 mm MDF was determined to be 0.138 mm, which was then applied to the slot dimensions to improve the fit between the pieces. *Image from our Group Assignment.
The variables were then applied directly into the sketch using the # symbol. Instead of fixed measurements, dimensions such as width, radius and slot sizes became dynamic and automatically updated when modifying the variables.
Using the original frame as a base, I created the remaining four layers of the box. I used sketch relations such as coincident, concentric, tangent and symmetric to create the internal shapes and keep them constrained, preventing the geometry from moving when modifying the variables.
This image shows an example of how tangent relations were applied to maintain the smooth and continuous curvature of the irregular wave shape inside the frame.
For the flexible strip, I added a new variable called #NumberLines, which controls the number of cut lines generated in the flexible section. The 70 mm flexible length was defined by wrapping a paper strip around the 15.4 mm corner radius and measuring the required distance to bend properly around the frame.
At this stage, the variables were already integrated into the flexible strip geometry. The next step was using the Mirror tool to reflect the pattern and complete the full strip design.
This image shows the final flexible strip with all the cutting patterns that will allow the material to bend. Additionally, two star shapes were added to the side walls using the line tool.
Finally, this assembly preview shows the frames positioned inside the flexible strip. All components were modeled with a thickness of 2.7 mm to simulate the real MDF material used for fabrication.
The laser cutter was prepared by powering on the machine, checking the cooling and ventilation systems, and configuring the necessary controls to ensure safe and accurate operation.
For this assignment, I used the CamFive CFL-CMA1080K laser cutter. This machine uses a laser beam to cut and engrave materials by concentrating heat on specific areas with high precision.
Before turning on the laser cutter, I checked the chiller system. This component circulates distilled water through the laser tube to maintain a safe and stable temperature during operation.
Next, I turned on the automatic voltage regulator, which helps stabilize the electrical current supplied to the machine and protects the laser system from voltage fluctuations.
To start the laser cutter, I first inserted and turned the safety key to activate the system. Then, I released the emergency stop button by rotating it clockwise and switched on the side controls of the machine.
I placed the 2.7 mm MDF sheet on the honeycomb bed, making sure the material was flat and correctly positioned within the 1.20 × 0.60 m working area before starting the cutting process. Leave the nozzle 5mm above the material
This is the laser control panel. From this interface, I could move the laser head, set the origin point, adjust parameters and send the cutting file to begin the process.
The laser cutter works by directing a concentrated laser beam through mirrors and a focusing lens toward the material surface. This focused energy allows the machine to precisely cut or engrave the material, while the nozzle directs air to help remove debris and reduce heat during the process.
The vector design was prepared and configured in SmartCarve 4.3, where the geometries, layers and cutting parameters were organized according to the desired process.
The cutting files were prepared using SmartCarve 4.3, the software connected to the laser cutter. This interface allows importing vector files, organizing geometries within the work area, and configuring cutting or engraving parameters.
The SmartCarve control panel was used to manage the cutting process and configure the laser parameters. Through this interface, it was possible to organize layers, adjust speed and power values, monitor the machine status, and send the file directly to the laser cutter.
The vector file was imported through File → Import File, allowing the geometry to be loaded into the SmartCarve workspace.
During import, the drawing units were configured in millimeters (units of my design) to maintain the original scale of the design.
After importing the file, all geometries appeared inside the digital work area corresponding to the laser bed dimensions. The different pieces were then arranged strategically to optimize material usage and maintain enough spacing between cuts.
For the cutting operations, the blue layer was configured using higher power values in order to completely penetrate the MDF material. The parameters used were a maximum power of 70%, a minimum power of 55% and a work speed between 25 and 30 mm/s.
For the engraving operations, the green layer was configured using lower power values combined with a slightly faster movement speed. The parameters used were a maximum power of 12%, a minimum power of 7% and a work speed of 30 mm/s.
Here you can see the application of the blue layer for the cuts and the green layer on the stars that will be laser engraved.
Once all parameters and geometries were verified, I clicked on "go to scale" to verify that the nozzle cuts within the material, and then click "start". Through this panel, the job could be started, paused, or stopped while monitoring the machine status in real time.
After all the pieces were cut, the shadow box was assembled by fitting the frames into the flexible strip using the press-fit joints. The parametrically adjusted slots allowed the structure to be assembled without the need for glue.
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In addition to the laser cutting process, this week I also worked with the vinyl cutter to explore another type of 2D digital fabrication process. Through this activity, I learned how vector-based designs can be transferred onto adhesive vinyl using precise cutting paths generated by the machine.
For this process, an image was vectorized using Affinity Designer in order to generate clean cutting paths for the vinyl cutter. For more detailed information about the interface, please refer my Week 2 documentation.
To begin the vectorization process, I first created a new workspace inside Affinity Designer. This allowed me to prepare the canvas where the image would later be converted into vector paths for vinyl cutting.
The image was imported into the software using the File > Import Content > From File(s) option. This made it possible to place the graphic inside the workspace and prepare it for the vectorization process.
After importing the image, I switched to the pixel workspace and used the image tracing tool to convert the graphic into vector shapes.
The machine components and material setup were reviewed to ensure proper alignment, stability and accurate cutting performance.
For this assignment, I used the Roland VersaSTUDIO GS2-24 vinyl cutter to cut adhesive vinyl designs with precision. This machine works by using a small blade that follows vector paths generated from digital files.
Before starting the cutting process, the vinyl sheet was carefully positioned inside the machine, making sure it was aligned correctly with the working area. Proper alignment is important to avoid shifting during the cutting process.
The pinch rollers were adjusted according to the width of the vinyl sheet to keep the material firmly in place while moving through the machine. These rollers help maintain stability and improve cutting accuracy.
The control panel was used to configure and monitor the cutting process. Through this interface, it is possible to adjust parameters such as speed, force and material position before sending the design to cut. The Roland GS2-24 was configured with a cutting speed of 10 cm/s and a cutting force of 80 gf.
Before cutting the vinyl, the design file was prepared in CutStudio, where the vector graphics were imported, adjusted and configured according to the material dimensions and cutting settings.
The CutStudio workspace was opened to prepare the file for the vinyl cutter. This interface provides a grid-based working area where designs can be positioned and adjusted before cutting.
The interface includes a toolbar for actions such as importing, saving, and cutting files, drawing tools on the left side, and an object properties panel on the right side used to modify dimensions and formatting.
The vectorized image was imported using the Import option from the toolbar. Once loaded, the design appeared inside the working area for scaling and positioning.
After importing the image, the Image Outline option was selected to automatically generate vector contours from the bitmap image, making it suitable for vinyl cutting.
In this window we click on extract lines from the contour, select the contours only option and click OK.
The vectorized design was resized and repositioned to fit properly within the cutting area.
Finally, we go to the cutting option, select the machine we will be working with, and click OK to send it to cut.
We start with the cutting process and after it was completed, the vinyl design was prepared for application by removing the excess material and transferring the final shapes onto the desired surface.
This is the final result, where I repeated the process in both white and black vinyl.
In this section, you can find the downloadable source files developed during this week.