EP 12 Onefinity CNC - Inlay Cutting Board

foreign hi Morgan here for onefinity and guess what I just made my first wooden lay and look I know that for some of you guys have been doing this for a long time that's really not a big deal but for some of us it's kind of a milestone so would it kill you to be a little more supportive anyway if you've been wanting to take a stab at wood inlays stick around we'll do one together and don't worry about making mistakes I already made all the mistakes for you lots of them you're welcome and while I have your attention I'm just going to go ahead and get out in front of this I don't really like how this project came out actually I hate it it's not because the inlay process on the scene C didn't go well that actually turned out a lot better than expected it was my choice in material that kind of ruined the project so I did a walnut inlay on an end grain teak cutting board and just to show you what I was looking at throughout the process this is a cut off from the same cutting board I didn't realize how much darker it would get when I applied an oil finish at the end of the process and when I was laying everything out there seemed to be a good amount of contrast between the teak and the Walnut but that was before finishing so when I applied an oil finish everything just kind of Blended together all that to say it's important to be mindful of your materials when doing an inlay because you want contrast contrast is kind of the whole point anyway the inlay itself came out pretty good so let's move on since this was my first inlay I wanted to do one that was complex and detailed enough to be challenging but not so crazy I'd be setting myself up for failure so I decided to make an End grain cutting board with an inlay of a diagram of a cow showing where to find all of its most delicious Parts after gluing this board Up all In grainy I put it on the CNC and created a pocket tool path encompassing the entire surface with a little bit of margin around every side cutting 0.03 inches deep across the entire surface to flatten the one side and the bit I'm using to flatten is a three quarter inch diameter quarter inch radius bowl and tray bit from bits and bits that may not be and probably isn't the best bit to use for that but someone on the internet said it would be great so I went with it because this bit has a relatively large diameter I dialed down the speed on my Makita router to about the three Mark it'd be cool if there's an easy to translate system that correlated the number on the dial to RPMs but I had to Google it the recommended speed for this bit is 16 000 RPMs with a feed rate of 120 to 150 inches per minute when programming my tool path I set my XY datum to the center of the material because I staggered the strips when gluing this thing together and I didn't have a nice Square corner for my 3-axis touch probe to get a good reading now I have a nice flat piece that I can confidently set my z-axis to and run my tool paths and this is super important because when you're doing inlays the tolerances are so tight everything has to be nice and flat for it to come out right now that I had a blank canvas on which to carve my masterpiece I imported a fairly simple Vector I downloaded from the internet it was free and we'll put a link in the description if you want to use it too I centered the design to the center of the material and made sure to join any open vectors I grouped everything that would be cut the same way and started working on my tool path and in doing so there was a lot I mean a lot of trial and error mostly air it was mostly error for the simple fact that I was listening to all these perfectly competent guys on YouTube but I didn't understand the terminology and they were talking about start depth and flat depth and I just wasn't there yet so after messing around with it for a little while here's the best way I know to explain it you've got your mail part and your female part the object that the inlay is going into is always going to be the female part and the inlay itself is the male part actually you know what from here on I'm going to refer to the female part as negative and the male part is positive just to keep myself from giggling through this whole thing the idea is to get the positive side of the inlay to Nest into the negative side of the inlay with no visible gaps on the surface where the two parts meet the surface that will be visible I used a tapered ball nose bit with one Thirty second inch radius tip from speed tool the tapered ball nose bit will give me very slightly tapered walls forcing the positive side to Center itself in the negative side as it's inserted to do that and this might be common sense and maybe even not worth mentioning but it's very important that you use the same bit to cut both the positive and negative sides of the inlay it's not recommended it's absolutely necessary let's start with the negative side of the inlay in vcarve I'm going to select my design and create an engraving toolpath the start depth on the engraving is going to be zero that just means we're starting at the top surface of the work piece the cut depth will be 0.3 inches and that's just a little over a quarter inch under Tools we're going to either import the specs for this bit or input them manually if you input them manually make sure that the specifications are accurate and directly from the manufacturer if you just take a wild guess at it you're not going to get good results I set my feed rate to 80 inches per minute because at the tip this bit is pretty small so I don't want to push it too hard we'll go ahead and preview that tool path and looks like everything's going exactly how I wanted it to after I put my inlay in there I'm going to want to give the whole thing one more flattening just taking about ten thousandths of an inch off the top to make everything nice and flush and not change the appearance of the inlay design but we'll get to that later all right now let's move over to the positive side of the inlay this will be cut out of a different piece so I just set up a whole new project for it when you import the design you want to center it to the material and mirror it horizontally remember the top of the positive part is going to be at the bottom of the cavities that we engraved so the image needs to be reversed now after the positive sides all cut out you'll need to separate it from the waist so the easiest way to do that is to select your design and create an offset by clicking the offset button over here on the left that'll generate a new Vector around the outside of the design and I set mine to a half inch I know I'll be cutting this thing out on the bandsaw so a half inch just gives me a good amount of space to work with now instead of an engraving tool path we're going to select both the design and the offset and create a pocket tool path for the positive side this will remove all the negative space around the positive parts of the inlay in researching how to do this despite all the conflicting information one thing was consistent for the positive side of the inlay the start depth and the cut depth have to equal the cut depth of the negative side which in this case is 0.3 inches so for the positive side I set the start depth to 0.28 inches and the overall cut depth to 0.02 inches totaling 0.3 inches all said and done don't ask me why that works I don't know it just works now with the same bit and the same X Y origin because I didn't move my stops all I had to do was probe for Z so I probe for Z that I ran the program after the operation was complete I brought it over the bandsaw to separate my inlay from the waist around it now I have my inlay just about ready to put into the cutting board but first I went through and just kind of cleaned up the edges to make sure there was no fuzz or anything that would prevent the inlay from fully seating in the pocket once you're happy with how the inlay looks it's always a good idea to dry fit it before applying any glue just make sure that it fits and there aren't any gaps on the top surface where the two parts meet then just put some glue in there spread it around real good and insert your inlay it should sit in there just fine with a few good Taps but feel free to use clamps if you like while I was waiting for the glue to dry I created a separate pocket tool path to get rid of the material sticking out above the inlay so I measured how far the waste material stuck up above the cutting board and made the flattening tool path to just cut about five thousandths of an inch shy of that after that I ran one last flattening tool path across the whole thing I then routed a round over to the top edges and a 30 degree chamfer to the bottom edges and then I sanded sanded sanded I sanded some more and sanded and sanded until I got to a point where I was just tired of sanding I was done finally I slapped on some oil and wax finish and called it a day now that it's done and I don't even really like it I don't maybe I'll give it to Darlene well that about does it I hope you found this helpful and if you've been wanting to start doing wood inlays this should get you on your way all right I'm out of here make sure to like the video subscribe to the channel comment uh hit the notification Bell you know all the stuff you know the drill thanks for watching y'all be good [Music]

Channel: Onefinity CNC

Views: 15,698

Keywords: cnc, onefinity, onefinity cnc, onefinity journeyman, onefinity machinist, onefinity woodworker, onefinity x-50, onefinity x-35, QCW, cutting board, cnc machine, making cutting boards, cnc machine job work, woodworking tools, how to make a cutting board, end grain cutting board, butcher block

Id: GpkBg-zWRbo

Length: 8min 6sec (486 seconds)

Published: Wed Jan 25 2023