Text-On-Text - VCarve & Aspire - A Look at 3 Approaches to TOT Designs

good evening everybody i'm gonna sneak in here about five minutes early just to say all my hellos and all uh hope you're having a good evening sorry about last week uh we didn't have a class last week i had to uh reschedule last tuesday was one of those crazy days where uh everything just piled up during the day and it didn't leave me enough time to create uh anything for the class or come up with an idea even even having enough time to even just do a simple q a uh it it just it just wasn't happening so um we had to push everything off to tonight so thanks for coming back and joining me i appreciate you all as always now tonight um i want to go over text on text now you guys and girls know for for those of you that have been around a veterinarian a while and all know what text on text are where it's called or it's called stack text uh and we've done projects with text on text in the past but um i've had this last week i've had a few people message me and asked me about it and and how to proceed or do you have a video on it that i can watch and i went back into my videos my past lives and everything and i've had some text on text elements spread out you know in the classes and stuff throughout the classes and all but not really one that discussed it uh and everything and so i want this class to be a text on text class and we're gonna talk about three different approaches to text on text now we're gonna look at the vcarve method of text on text versus a straight pocket i in my personal opinion think a vcard text on text has a much more elegant look much more detail much cleaner looking than the straight pocket text on text so we're going to focus on the v-carve v-carving of a text on text or stack text object and we're going to do some you know different levels of signs and things but the three approaches uh that we're going to take are uh you know option number one which would be in you know vcarve that would include desktop or aspire right or desktoper pro right desktop or pro and aspire let me learn how to spell and um uh this would include creating uh free layers okay we would have an original layer a top text layer and a bottom text layer this method includes um because of the v-bit based on the v-bit right based on the v-bit uh there is going to be an offset of the back text right the larger texas in the background so i'm just going to call it the uh i'll call the back text versus the bottom text because the bottom text kind of the bottom text layer kind of includes a you know welded layer so of the back text um and so this would be option number one and uh there is another approach uh to it which i'm gonna call option two and uh i actually uh you know watching mark ottman uh online mark ottman uh made a text on text video and he took a different approach to this and um he took a different approach to this and instead of offsetting the back text he offset the top text and the border so option two again would be all three you know the vcarve uh desktop pro and aspire uh this uh creates four layers okay uh so there would be uh creating four layers and those layers would lay out as your original layer that's your original design your top text your bottom text and then a layer called welded text okay so it actually separates the welded element of this um the the uh sorry to laugh uh in the middle there but uh chris said he heard this is the home of short veteran tutorials [Laughter] there's nothing short about these classes but i'm going to try to make it short and to the point because text on text is pretty straightforward um the but this separates the welded text into its own layer where everything is kind of welded together and it separates it from the bottom and the top but in this approach uh that mark ottman did um the top text elements the top text is offset and uh it's offset outward in an outward direction and uh and this was uh this one here is offsetting the back text inward let me just put that in there uh up here but uh off offsetting the top text uh outward uh based on the bit right so let's put in there let's kind of keep things consistent so again based on the vivit let me learn how to spell the top text is offset outward and the boundary is offset inward okay and so that would be option number two both of them get you to the same place but one may be better than the other for you or you might like that approach better than the other we're gonna do both so you can see uh the approach on both of them um sometimes with with offsetting the back text inward you know and reducing it down based on the v bit the offset of the v bit and everything sometimes certain fonts can be used certain fonts cannot be used because if that text is offset inward and any part of that text disappears then you can't use that font you got to find a more bold standout font what i found in my little messing around today is that when i did option number two offsetting the uh the the top text outward if i lost any part of my inner elements it didn't really affect the design so i didn't have to change the font and i'm gonna i'm gonna show you that you'll see that when we actually do the design now the third option option three is uh only uh for aspire so it's an aspire project and it's basically modeling the stacked effects design so basically creating shapes writing out your text and then extruding that text to create the different levels okay so these are the three approaches uh that we are going to look at we're going to uh basically provide all the steps for each of them we're going to try to get through it in a short order tonight but i'll try to be you know precise and to the point so that uh you can follow along easily uh and it won't get too long-winded and you guys won't fall asleep on me um so uh let's go ahead and let's start off with i'm going to jump into vkr pro and we're going to start off with options one and two we'll start off of course in order we'll go with option number one again option number one we're going to be creating three layers our original layer top text layer in our bottom layer and then based on the v bit we're going to offset the back text inward so let's see how that would go all right so in my design uh software in my vectric i have set up a job that is let's get um full screen here for you guys and girls i've set up a job that is 26 inches in length so i'm going to do a sign that's 26 inches in length it's nine and a half inches wide so basically a 1 by 10 and it's gonna be three quarter inches thick all right and um and i think a one by ten is actually nine and a quarter not nine and a half so we'll fix that somebody correct me in the uh chat i think uh i think when you get up to like uh one by four it goes to quarters like a one by five a one by six is five and a half inches and a one by seven is seven and a quarter inches and it goes to quarters after that uh somebody correct me if i'm wrong on that but um uh anyway we'll go nine and a quarter basically a one by ten board now i'm going to be working off of i usually work off my waste board right the machine bed uh usually zero out on the machine bed for me because my waste board is also as and i've said it numerous time and on many of the path classes that my waste board's also a jig for clamping and stuff uh but you can work off the top of the material or the bottom material whichever you choose and so for this class i'm going to set it up as a thank you allen i appreciate that um uh i'm going to set it up as the material surface for our z zero position uh but i am going to be working from the bottom left corner because that's where my uh fence is and everything and uh we'll go from there so this is my job set up 26 by nine and a quarter uh by three quarters and so we're going to go ahead and click ok and right off the bat we're going to start off by organizing and creating our layers so we can access our layers from here at the top of the view bar or from down here off the left the layers tab either way we can access and create our layers whichever you prefer i'm going to just drop down from here so it's right in the middle of the screen and the first thing i'm going to do is i'm going to go ahead and name rename layer 1 to my original uh i'll just call my original design layer and my second layer is going to be my top x layer and then my third layer is going to be my bottom text layer okay all right so uh with those three i'm gonna make sure that the original uh design layer is bold and i'm gonna go ahead and turn off the other two the visibility of the other two layers we don't need them on right now but i want to make sure that this layer is active okay so it's active we should be able to see it up here and it should be bold in here and the first thing i'm going to do is in my drawing tools i'm going to go ahead and create my boundary my border generally what i do is i take my rectangle tool and i snap from diagonal corner to diagonal corner to lay out the uh whole board and then i come in and offset that rectangle that was just created inward based on how thick i want or how big i want my border to be and in this case i want a one inch border and i'm going to be offsetting inward and i want to create sharp corners and i do want to delete the original i don't need that original outer border created or just get in the way and get confusing so when i offset this i want to make sure that that outer one that i drew the original was deleted so this will be my general boundary here um and uh the thing i want to go ahead and create first is i'll go ahead and do the back text layout and you might have saw in the thumbnail that i did kind of a spindle tv sign like my logo right um and uh and all and this could be really anything i mean you could do people's names you can do uh whatever it is that you want to do but i'm just gonna lay out this and i'm gonna go with a uh two inch tall text let's kind of get it up here on the board and i'm just gonna go uh spindle tv i want this text to be bold and i'm going to use um not the cooper plate let's go bear with me a second [Music] let me get down here to the mno all right i'm gonna go with the oswald i'm gonna go with oswald heavy yeah that'll be fine and uh let's go ahead and i'm gonna hit f9 to get that centered on the board i think i'm gonna change the font but let's get it sized up so i'm going to hold down my shift key i'm in transform mode when you double click on an object it's in transform mode i don't like the way that v looks so i'm going to get i'm going to change the font but i'm going to go ahead and shift this up to a bit of a larger size and i am actually going to move it up because i'm going to have some lower element text here and we're going to be talking about that how to create a different level of like text below like let's say an established 1929 that type of thing uh which we're not going to do but uh you know without it getting carved away and stuff i am going to go in and change the font uh this font's a little bit uh too uh choppy for me and so i'm gonna go back up to my come back down to my open sands extra bowl there and uh let's get it sized back down appropriately okay so now uh i'm going to create the top text so i've got the back text i've got it pretty well kind of laid out uh how i want uh so i'm going to create another text object now typically a lot of times with the um with the upper text or the the taller text and all uh typically they go um with something like you know scripty or kind of uh you know that's not so blocky uh they generally go with a uh something that's got a little bit of character to it right so i'm gonna come in here and i'm going to choose my uh black river bold i think that's the one i'm going to use let's see we'll find out here in a second yeah that's the one and uh no black river bolt is not the one i want to use but let me go ahead and get the that's the one i want to use i don't know what i'm thinking all right and uh i want to go with uh let's size this text up let's get it here and i like i'm gonna make this uh slightly a bit taller not move there dude i want you taller and i'm going to stretch it out some so i'm going to hold down my shift key and kind of stretch it out and then i'm going to make sure i'm going to close this tool and i'm going to go into my alignment tool and make sure it's aligned to my material left and right okay spindle tv should be aligned uh you know left and right so i want this aligned and so we've got this and i'm gonna bring in this a bit and i'm gonna realign it now that i've moved it there we go all right and so i you know some people put the text uh right you know over the um you know the back text they they they you know have it like where it covers the back text and everything which is cool right you know uh it can come out uh you know looking pretty good i could do my name really big the top tech's really big and i could do spindle tv small in the background right at the spindle tv doesn't have to be the big text i could do my name you know since i'm the star no just kidding uh but uh and then i could do spindle tv coming through that but spindle tv being the back text um however do it but what i like i like where it has that kind of element where it's uh it's down low so i can read that back name it's still stacked it's still stacked on top but it's also off of it as well so i'm gonna go right about uh here for that so we should still be able to you know make out spindle tv in the background with my long iris name and everything and then uh i want to put my little uh tag line down here at the bottom so i'm going to come in and uh i'm going to make this text about three quarters of an inch tall and uh your source for cad cam learn how to tim training videos all right now i'm gonna let's zoom into that because i want to change the font that's not the font that i want to use i'm going to go with just a very basic um straight up font i'm going to go with the um we'll go with the open sans i got your i got a capital o there that needs to go away your source for cad cam training videos and let's go ahead and get that centered in our left and right okay good and uh i'm gonna drop that down just a snudge a snudge is that a word a snudge all right so let's close our alignment tool and uh the fonts in this large uh view that i have look so uh wrinkly but uh it's it's this resolution that i have for you guys so y'all can see but um all right so this is it as far as the main design right now what i'm gonna have is this is gonna be my stacked text and then on the lower level uh the same height as the back text i'm gonna have this uh tagline here right so this could be that established or married on or for love and memory always or whatever you know it is going to be there and you can have it the same height as your top text like right so it's the same level i like it when it's uh kind of where there's some levels to the sign so i like it when it's the same height as the bottom text so that way that top text stands proud of everything um but you know we'll uh we'll take a look at that now what i need to do is i'm going to take a rectangle and this lower text i'm going to create a rectangle boundary around it and this boundary is going to protect it from uh getting that wood where this where this catchphrase gonna be getting it you know it's gonna protect it from being carved away when i do my pocket and everything so let me just size this up and i just want to make it i don't want to make it very much bigger than um then the actual catchphrase so if this was a wedding date or something it would be the same thing because i'm not running it from the top of the material down i'm actually going to be milling off the top level as a whole pocket and it this is going to be the height of the the bottom level text then i want to protect this from getting milled away so i got to put a boundary around to protect it now i'm going to take that boundary that i've created and i'm gonna offset it outward i'm gonna offset it outward uh by about an eighth of an inch and i'm not gonna delete the original i want both of them okay i want both of those there all right and you'll see why this is important now if you're just doing a simple text on text sign with somebody's last name and the husband and wife's first name then everything that i just did here is irrelevant right i've got a catch phrase or a wedding date or you know some kind of cute little romantic saying if it was a you know a love me sign type of thing uh i've got that down there and if i did have something down there if it was a 3d model of some hearts or some wedding rings or anything like that i would want to protect that material from getting milled away so that 3d model would have wood to get milled right i don't want to get in mild away when it mills all of this stuff out so i've got to protect it so whatever it is i don't care if it's simple 2d text or an object or if it's a 3d object you put your boundaries around it and i'm using two boundaries uh this uh boundary in here will give this uh that raised effect text look and then um there will be a uh a pocket cut uh in a sense that will uh clear away the rest of the stuff okey-dokey okay you'll see here in a moment all right so we are at the point now to we got to start separating things into our layers this is our original design and it's done so on the original design i want to take my top text and a boundary that inner boundary and i want to right click and copy that to the top text layer okay and we're in option number one so we're going to do it option number one you're going to see option number two has got a couple of variances and differences when we do that for the bottom text i'm going to select that and a boundary and i'm going to copy that to the bottom text layer okay now this object here this object here this can also go on the bottom text layer so i'll go ahead and just copy that to the bottom text layer as well now if some people might want to say hey i'll just create another layer called the lower third right you've ever heard of the term in in video making the lower third that's those banners and things that pop up at the bottom of the screen and that's kind of for this sign that's the lower third of this sign and so you could create another layer just for that but i want to talk about three layers original top text and bottom text okay all right so if we come in here now we can turn off our original design and we're going to start off with the top text and we're going to make that layer active we're going to click on it and make it bold and sometimes if you're using script text you know they have overlapping lines this is where you do your clean up work uh this is where you're going to get rid of those overlapped lines and things and in option number two i'll do a design where there's some script text so you can see that that clean up process and so um the top text for me there is no loops there's no overlaps or no nothing that needs to be corrected so it is done okay it's done so now i can focus on the bottom text layer here and now in option number one we have to offset the bottom text inward based on the v bit that we're going to be using and how deep we're going to be cutting our letters how how tall we want the top text and the bottom text to be so i'm going to draw on this layer here i'm going to draw a v bit uh and i'm going to be using a 60 degree v bit uh to cut my design with and i'm going to draw a line coming across that point of that bit and that's going to represent the bit sitting on the top of the board right and i can even uh you know extend that line out so it even looks like the bit sitting on the top of my board this is the this line represents the top of my board and the bits zeroed out on the top right well let's not say it that way but the bit is at the top now if i was uh cutting let's say i want my top text and my bottom text to be an inch and a quarter for the top text and an inch and a quarter for the bottom text then i'm going to move this line upward uh not an inch and a quarter sorry 0.125 an eighth of an inch not 1.25.125 right so i would move this upwards so i'm going to go ahead and move that line relative to its current position i'm going to move it in the y position upward so it's a positive number i'm going to go 0.125 and click apply okay now what i need to determine to determine my offset is i need to measure horizontally from the tip of the bit to where the bit intersects at that eighth of an inch where it intersects the top surface of my board i need to um let me change this real quick okay i need to measure that offset distance okay and um the let me select this here and let's change that to four decimal points we don't need to go five but i'm going to measure that offset distance and this is my magic number right uh if i was if i was going an eighth of an inch or not an eighth of an inch but let's say i was doing a cut depth of 0.1 instead of 0.125 i would take that line and um if i snap it back here and i moved it again you know relative to its y position 0.1 my offset distance would be 0.5 0.056 right so let's measure that i don't know why i have that tool open uh this tool right here the measure tool measure horizontally from here to here my offset distance and let's uh click there and you know uh 0.57 so i was close they're 0.57 and um let's uh close that tool all right so whatever that height is you know whatever however deep you're going that's going to be your magic number now for me i want my text to be an eighth of an inch and uh this is my magic number this is my offset from if that bit was cutting in an eighth of an inch from the tip of the bit to where the edge of the bit intersects the top of my board that offset distance is my magic number so what i need to do is on the spindle tv here i need to offset that inward by that number 0.0722 i do not wanna create sharp corners uh when you offset your text you don't want sharp corners i want to delete the original and then i wanna select the new okay so we're gonna offset that and it looks weird right it looks like the letters are all skinny and things like that but they actually when they carve they will carve in full form like this but uh we have to offset it in because of the way that bit's going to be cutting we want a nice v-shaped transition on our letters and everything imagine if you will if i draw a line across the top of this bit here imagine if this was the top of my letter and this was the outside edge right i want a nice transition from the top of my board all the way down to the final cut which is going to be you know that quarter of an inch i want a nice smooth transition transition i don't want a stair step or anything and if i did not offset my back text inward then i would get that stair step effect and it wouldn't look as clean right so option number one we've created our three layers and based on the bit we offset the back text inward okay so uh everything is done as far as that's concerned and now what i need to do is on my back text i need to select it all and then i need to group it together so the software treats that those individual vectors as one object all right so that's done now i can come back into my top text layer here i'm going to turn off the bottom text for a minute and come back in here and i want to go ahead and take my bottom text and i want to make a copy of that or my top deck sorry i want to make a copy of that to the bottom text layer then i can shut that off and come back in here because now once my offset is complete i can weld this together but this text is still a font i cannot weld a font so i have to convert it to curves okay and then group it back together so the software treats all those individual vectors as one so now i have two grouped objects i have the laney shaughnessy and then the spindle tv okay and now those two grouped objects can be welded together with the weld tool to create that back boundary all right looks weird and uh and all that stuff but uh it'll be just fine no worries all right so now we can come back in and we can turn on our top text layer and we are ready to go over and start tool pathing option number one okay so we'll come in here and uh let's first save this work uh we're gonna go save as save early and save often right so we're gonna go save as and um we're gonna go into our class files i'm gonna create a new folder maybe did it just freeze up on me for some odd stupid reason there it is way over here all right what all right let's rename that and i'm just going to call this uh three times tot text on text don't worry i know what it's called so name it whatever you need to name it uh and this is uh i'll just do the same thing here but i will actually uh three i text on text all right cool and i'm going to go ahead and call this option one so i can save these separately all right cool all right we're ready the tool path now with option number one when we create the tool pass for both the top text and the bottom text both toolpaths will have a start depth of zero okay both will have a start depth of zero all right and so i'm going to come in here and i'll turn the bottom layer off for a moment and just focus on the top layer on that top text layer i need my boundary and my text we're going to start at 0 we're going to have a flat depth of an eighth of an inch i'm going to select from my tool database um my 60 degree vivid and everything looks good and then i'm going to select a flat area clearance tool now um i like using i mean depending on how big this sign is going to be and how much time you want to put into it um i like using a smaller diameter bit like an eighth of an inch bit so it can kind of get closer into those letters and everything because wherever the end mill for the clearance toolpath wherever it can't fit the v bit has to take over and do that v carving uh you know that flattening basically with that point of the bit and so it kind of balances out a little bit uh on on on runtime whether my v-bit's doing that flat work or my end mill is doing it you know uh and everything so you know if you want you can do multiple bits that's the new thing about 10.5 i could have a quarter inch end mill do a majority of the part followed by an eighth of an inch mill to finish it off right or you can just use one bit however you want if we would want to do two clearance tools you know one with a bigger tool then come back with the smaller tool to do the touch up then we would just select that second tool and uh it'll put that larger tool first in the list and then the smaller tools second in the list when it calculates the toolpaths um so that way you run them in order now i like rastering some people you'll see in a lot of veteran tutorials and all they just do offset i like rastering i prefer to cut with the direction of the green uh so that the uh you know i don't have a lot of mill marks or swirl marks or you know things to clean up or you know uh in that clearance area and everything i don't want to have to do a whole lot of sanding and stuff so i'm gonna raster cut this and uh raster with a zero angle you know along the x-axis and i'm gonna calculate the tool path right so we're gonna call this our top text and i'm going to click calculate now that's going to create three tool paths for me because i'm using three bits let's close this for just a minute my top text clearing one that's the quarter inch end mill the top text clearing two is the eighth inch end mill followed by the top text which doesn't have the word clear that is the 60 degree v bit so i'm going to go ahead and rename this while i'm here and i'm going to just uh top text .25 and i'll use em as endmill um and i'm going to rename this one as 0.125 pm end mill and this one here i'm gonna rename and this is my 60 p e g p bit okay so that's my top text tools so if we were to uh take a uh look at this let's go ahead and get a decent uh color wood here i will go with just maple for right now and if we preview the visible tool pass this will mill out that [Music] and here let's uh let's stop that for time sake i'm gonna i'll show you guys a finished rendering but for time's sake i'm gonna turn this quality pour uh the preview quality down really low uh and um let's uh preview that tool back just so it's much faster and so our quarter inch end mill is going to come through and do uh the big work followed by the eighth inch end mill that's going to get a little closer and then our v bit's going to come and do the final work right uh to give us that nice uh clean look right so we have three bits doing all right now let's go ahead and turn off the top text layer and come into the bottom text layer here make it active and on the bottom text layer i want to choose my boundary all of this text here oops all of it laney let's do that again all of this here that welded text and my inside boundary right here okay and of course uh my inside boundary is not protecting my g so let me fix that real quick got to make sure those things are protected let's uh i gotta zoom in i don't wanna i just wanna get right below the g there we go and on this one let's pull that one down just a little bit i don't want to get too close to my border let me zoom in here okay and awesome blossom all right so once again i need my outer boundary i need my welded text selected and the inside boundary selected okay and we're going to go ahead and create that v carve tool path now again on this one here this method we will be starting at zero and we will be cutting down to the quarter of an inch that eighth of an inch plus that eighth of an inch okay uh so that's a total of a quarter of an inch nothing changes with my tools and as far as the tools and everything go and let's see here we're going to use a flat area clearance tool yeah that all looks good we're going to be doing a raster cut and this is going to be my bottom text and we'll go ahead and calculate that all right so if we were to preview that visible tool path um for these items if we uh if we close this you'll see we have again three tool paths here let's go ahead and take i like to it will take some time tonight and rename these things properly so this is going to be my 0.25 end mill oops this one is going to be my 0.125 end mill and last but not least this one's going to be my 60 bed all right and so with those we'll go ahead and uh come back into our preview and we'll preview those visible tool paths okay and uh let's take a minute and answer a question here uh chuck asks um is there a right order of the tool pass yes there is uh so one thing that you'll notice uh chuck is that the vetric software uh placed the tool pass in order in the order they should cut the larger bit first the larger pocket cut first followed by the smaller cleanup bit followed by the last bit that does the detail work okay and uh so it lays them out it automatically does it in order now what we're going to do is we're going to um add our last tool path in here uh which is that lower level text and um and then we'll organize these toolpaths so that we can gang up the quarter inch end mills they can cut as one file uh the eighth inch end mills they can cut as one file and then the 60 degree v bits can cut as one file so i'm only running three files here right um and everything so let's go back to our 2d view now and let's go back into our vcarve toolpath and this time in the vcarve toolpath we're going to uh select this outside boundary and this inner text here and this inner text and all we've already cut down an eighth of an inch so we're going to start at an eighth of an inch and we're going to flatten out at an eighth of an inch 1 8 start plus an eighth equals a total of a quarter of an inch that's how deep our pocket is so we're we there's no sense in starting from zero on this lower level because it's it's down low so we've already milled away all that top surface and also let's go ahead and start at that eighth of an inch where this blank here this blank area starts and you can look down at the bottom of the screen if i hover my mouse over that 0.125 so that's that's where we got to start down at and then we're going to cut down another eighth of an inch okay now in the case of this toolpath in the case of this toolpath i do not need the quarter inch end mill so i'm going to go ahead and remove that i will use the eighth inch end mill i will raster cut this and this is going to be my i'm going to call it my lower third text and calculate that and so we'll go through and preview that visible tool path okay now notice here that this ring around here where that offset was where that pocket cleared out and everything uh that ring remained right and it didn't clean away and so uh i that needed to be gone and what that uh means is and let me make sure that uh let's go into this bottom text here yeah what that means is is the clearance here where that pocket uh that first pocket cleared out it didn't it left a little bit right it left a little bit of meat around here that didn't get cleared away and uh so i need to you know clean that out and what that what i need to do is is make my offset just a little bit bigger um for this tool path this offset here i need to make it a little bit bigger i need to let me let me look at the bottom here the bottom is clean it's just the sides and the top so i need to come back in here and i need to i got to watch my l over there so i need to pull this up a little bit more we'll go right about there and then i'm going to pull this to the side a little bit more go right there um yeah that's good we'll pull this to the side a little bit more and i this lower third i'm going to recalculate that toolpath i'm just simply going to recalculate it okay and uh we're going to preview that visible tool path and there we go we'll clean that up okay so my lower third is the same height as my back text and my tops text is standing proud okay and the resolution is crappy right now i got it turned down real low that's why it looks a little pixelated but so that is the tool path and the way to create your text on text for option number one creating the three layers original top and bottom offsetting the back text inward by the based on the bit and how tall we want our letters to be and then creating the tool pass now we're going to save our changes to this okay and i'm going to go ahead and we're going to start from scratch we'll close that down and come back into the vcar 10.5 let's turn off those icons to make it a little cleaner we're going to create a new file i'm going to go with the same size board here uh and same parameters touching off on the top of the material and uh working from the bottom left corner and in this one we're going to create four layers so our original layer right our original design i have another layer called our top text layer and it's up to you to choose which one you like best or which one you think is easy or kind of switch between both if you uh want to and then our third layer is our bottom text layer and then our fourth layer is called our welded text layer okay all right so we're going to start off with the original design make sure that layer is active and we're going to go ahead and turn off the visibility on the others we don't need them right now and we're going to start off with our boundary everything starts the same we're going to start off with our boundary okay i like creating a rectangle around the entire border and then offsetting inward and i'm going to offset i want a 1 inch boundary around here so i want to delete the original i want sharp corners and i want to select the new all right now we're going to work with our text and so i'm not going to do the same spindle tv sign uh i'm going to do a different one so that way there's some variety and you guys like okay i've seen this i'm going to sleep um all right so uh for this uh back text i'll start off with a two inch tall text and um i'll go with uh my alt to sans we're gonna do some script text on the uh um on the top text and everything but uh let's go ahead and um what do we want to do let's see here oh my goodness i can't even think anymore what do we want to do uh let's go with um we'll go with henderson's all right harry and the hendersons all right let's see here uh hinder son vanessa henderson henderson's henderson henderson all right uh let's go ahead and uh get that on the board go with henderson and we'll go ahead and uh i'm gonna size that up i'm going to stretch it out a little bit i want this one nice and big and then i'm going to go in and make sure that i'm centered on my material i'm going to go ahead and center this one i'm not going to have a ah i can now let's not do a lower third this time um we'll do a lower third on the third option uh but we'll just go with uh this and um let's go with our choice for our top text now now for the top text i'm gonna i'll do a little you know a little bit of script so we have to do some welding of our you know of our top text you'll do something we'll do something a little a little scriptish uh and fancy let's see here let me see here uh not not not for henderson i don't want it for that uh but i was just uh looking to see what the font looks like um we'll choose here in a second let's get the names on here so um let's see here [Music] did i spell harriet right harriet [Music] and robert right we'll go with that harry and henderson's harriet and then this isn't gonna work uh for this i'll go with a uh one inch tall one and a half inch tall text for right now i'll get it sized when i want it and i'm going to drag this on the board i'll go ahead and hit the f9 key on my keyboard just to get it centered uh and like i said some people like that center text and everything i'm going to lower mine down a bit but first let me get it sized up then i'll change the font let's go a little bit taller and let's find a nice pretty script font here oh slow down there house that'll work yeah that'll work all right so i'm going to go with kind of a brush script and i'm going to go ahead and let's resize it i want to stretch this out and i want to go a little bit taller and i like i for some reason guys i like where the text is a little bit on a little bit off you can have it however you want i like to be able to you know see uh some of the you know the larger now some now let's let's reverse this for a minute you know you could go in with your top text you could go you know with the top text being the uh let's go right about there let's stretch this out being the taller text and you know you could have your back text being the smaller right uh however you want it um sometimes that looks cool sometimes it doesn't this name is a little bit too busy for it to look really cool so we're not gonna do that right so i'm gonna go with just my block text here all right so design's done um we're not gonna do a lower third on this so this is the design here uh we'll do a lower third on like i said option three um and i'm happy with that so first thing we're going to do is we're going to take our top text and our border and we're going to copy that to our top text layer we're going to select just the back text just the back text no border this time remember an option one we chose the back text in the border but just the back text or the bottom text and we're going to copy that to the bottom text layer okay and we're going to come in here and turn off the original design we'll start with the top text layer and make it active turn it on all right so the first thing that we've got to do here the first thing that we've got to do is we've got to weld or blend this text together now there's a couple of ways to do that to clean this up right i could convert it to curves if i have an older version of the software if i'm not rocking uh 10.5 you know where i can just weld the text i could rock a i could convert it to curves i could come in here and grab my scissor tools and start trimming away to get rid of those overlaps and things right on those letters i could absolutely do that not a problem um but in the case of uh with this 10.5 the one thing that we can do now uh is uh when when you have text you can just select to weld that text and the software will ask you would you like to replace or keep the original objects would you like to replace or keep the original objects now if you click replace it's just going to replace it with that welded text okay if you chose to keep it then it's going to create the welded text on top of the original and it does select the welded text so right here and now i can select this uh text as well as this border and i can go ahead and uh not the border sorry this text here i can go ahead and move that to the welded text layer so i still have my kind of original text intact here but on my welded text layer i've got the what i need you know already done your choice however you want to do it um we just gotta weld it up and get rid of the overlaps that's the main goal so i've decided to keep the original text and send the welded text move it over to the or the uh the the yeah the welded text move it over to the welded text layer now the reason why i didn't select the border to send over there is i wanted to not move this one i wanted to copy this to that welded text layer all right and i am done with the top text so we should have a nice welded text of our top text and a border on that welded text layer so far okay now in that welded text layer with it active make sure it's active i want to select all of my text here and i want to offset this this is my top text right well it's we're doing it backwards now i want to offset this outward okay so if you remember option number two we create our four layers and we based on the v bit the top text offset uh gets offset outward and the boundary is going to get offset inward okay so my top text here based on my v bit now i'm going to go a little smaller with my depth of cut this time i'm going to go with that 0.1 depth of cut i kind of like the way that looks too between i like between 0.1 and an eighth of an inch uh you know there's not much of a difference it's only like 20 thousands of an inch difference but i just uh you know that's kind of that's my range so on this one let's once again just so you you guys and girls are aware let's draw our v bit if it was a 60 degree v bit we would draw 60 and 60 space bar to finish draw our line here if there's a 90 degree v bit draw that 90 degree v bit so the included angle these two lines here are at a 60 degree angle okay and um so we're gonna move this relative to its position we're going to move it on the y upward 0.1 this time and if we measure that offset distance horizontally okay oh five eight is our magic number and i went with three decimal points don't go any less than three decimal points um you know uh three or four is fine however you want but i'm going three decimal points on that so oh five eight is going to be my magic number for my offset and so harriet and robert here need to get offset outward by 0.058 a magic number right there okay uh we do not want to create sharp corners um we're going to delete the original and select the new okay so that'll offset that outward and then while it's still selected we're going to turn right around and weld that together as one object okay now we're going to select the boundary here this border here and we're going to offset the border inward by the same amount so this is mark ottman's method you can find him if you do text on text uh vetric if you do a search for that on youtube you will see uh lucy jones uh sign that's the thumbnail says lucy jones the name in there uh in the in the picture that he's doing uh and that's mark ottman and uh you could see his uh instructional where he uses this method where he offsets the top text outward and the boundary inward on that while the text layer so we want to go inward 0.058 we want to delete the original select the new uh we want to create sharp corners on this and we're going to click offset okay cool we'll click close and that is done now so now we can come into our bottom text layer here which is missing did i not put my bottom text on there let me come back to my original that's why we have our originals uh on the original let's copy to bottom text layer there we go all right so in our bottom text layer here uh there's no cleanup or anything that i have to do with this text uh it's nice and clean so we can go ahead and uh copy that to the welded text layer oh you know what i'll do here what i'll do here is i i kind of my original is my original so i'll do the i'll do the uh the grouping and stuff here on this bottom text layer so let's go ahead and convert this to a curve group it together so all those vectors are one item and then we'll copy that to the welded text layer that way it's ready to go all right so my original design has uh my fonts and my original design my top text layer has and the original font as well i decided not to weld it or you know uh weld in here i decided to just send that to the bottom layer the welded layer and do it there and uh my bottom text okay so we can now turn on our welded text layer we can select our grouped objects and we can weld them together all right and don't do what i just did okay make sure that when you're not in a layer that that layer is turned off and the layer you're in make sure that it's active or else it's going to be a bad day just like what happened with me there okay so make sure we're in our welded text layer okay all right so one more time and that layer let's weld that together very good looks all crazy and stuff for those of you that just now joining us for text on text but it will carve out nicely and uh now we can come in and open up our top text layer just to have that wonderful okay and so what you'll see is is that top text layer there's that offset around it and then we have our inset boundary and everything our border and stuff so pretty cool stuff all right so over here now with this one the tool path thing's a little bit different with this one i'm going to start at zero for the top text i'm in my top text layer make sure that's active and i'm going to be cutting down to 0.1 right that's what i base my offset on i'm going to be using my 60 degree v bit in my eighth inch end mill and it's going to be on my top text here and of course that's why that's why we want to weld and keep this because we got to use this layer so on your top text layer make sure that you do weld that text and instead of hitting uh keep just hit replace okay just hit replace and then copy that to the welded text layer don't keep your original text in here because your original text is up here in the original layer right we want this welded because we got to use this in this tool path okay so that was my screw up don't do what i just did all right so uh we'll select our well the text here i don't want to say well the word well we'll select our text our top text and our border cutting to 0.1 60 degree v bit eighth inch end mill i'm rastering we're going to calculate that let's call this our top text and click calculate um now let's go back in here and let's add in that quarter inch end mill because there is a lot of space in here and stuff let's go ahead and add in the quarter inch end mill to kind of uh like we did in the last one so we'll put that quarter inch end mill in there and see how it puts it first in the list let's recalculate that all right so um raster cut and once again we'll just recalculate that and so we'll preview that uh visible tool path really quick so the quarter inch end mill will go in there and do the majority of the work uh followed by the eighth inch end mill which will come and get a little tighter and then the v bit will come and do the cleanup okay so there we go and uh we'll go ahead and turn that layer off and come back into our welded text layer and for our welded text layer we want to select our inner boundary and our welded text here and this one's going to be a v car tool path and this is where it changes we don't start from zero on this method we don't start from zero we since we are offsetting that top text and and the boundary and all we actually start from the first cut depth so we've already cut down to 0.1 so we start at that point 1 and then we cut down to another 0.1 for a total of our 0.2 cut depth for that overall you know both both stacks uh but we actually start instead of starting at zero for the second tool path like we did in option number one we actually start where the first tool path left off okay but everything else stays the same and we'll just go down here and we'll call this our bottom text and we'll calculate that okay and we'll preview that visible tool path so our quarter inch end mill go in there and clean things up and that would be our text on text now let's clean up our tool paths and let's save them and i'll show you how to save them i forgot to save the last ones uh for you but we'll do this one so first thing i want to do is i want to kind of uh rename these right rename this uh and this will be uh the 0.25 end mill so i know what it is this one will be the 0.125 end mill and this one will be the v-bit so the 60 degree v-bit all right my bottom stuff uh we'll rename that as well so starting off with that quarter inch end mill followed by the eighth inch end mill and finish up with the 60 degree v-bit all right now when it comes to saving the tool pass okay and i'm going to double click on this to put my tool pass out here so you all can see them we can save all the quarter inch end mills together we can save all the eighth inch end mills together as one file and we can save all the 60 degree v bits together as one file the thing that is most important is that our top text is on the bottom so i would not if i were saving the two quarter inch end mills i would not want the word bottom text or i would not want my bottom text toolpath on top of my top text because it will carve backwards meaning that it'll go to its deepest depth and try to carve shallower right so make sure when you're moving these toolpaths around that your top layer is on the top of the list right so i want my top text quarter inch end mill above my bottom text quarter inch end mill my top text eighth inch end mill above my bottom text eighth inch end mill and then my top tech 60 degree v-bit above my bottom tech 60 degree v-bit so we'll go ahead and save these two items here as we'll output them as one file we're going to use i'll use my helical arcs post processor here and we're gonna save that and in our folder here we're gonna call this uh i'm gonna create a new folder inside my three times cot and i'm going to call this option two class and in there i'll go ahead and uh if you need to number this just throw an o1 in front of this because this is the first tool path that you would run um check off our quarter inch end mills and save that tool path and you can throw in an o2 in front of that if you want so you know it's the second one that you're running and then we're going to check that off and then check off our vbit toolpaths make sure they're both listed here and this will be o3 okay and so one two three in that order and uh because they use the same bit we can save them together as one file all right so this is option two okay oh harry and robert alrighty so up to this point any questions before we move on to option number three using the aspire um and so what we're going to do is before we do that we showed i showed you how to save these toolpaths right let's go ahead and uh don't forget to save the design i saved i always save your design first laney come on uh and uh this is gonna be my uh option two three times dot all right awesome now i'm going to close uh this file here file close and i'm going to open up my uh option number one backup and come over to these toolbars because we didn't save these tool paths here uh on my lower third i'm gonna rename that uh that lower third was my eighth of an inch end mill 0.125 end mill mill and the regular lower third was the 60 degree v-bit all right and let's save our changes file save because the file's already saved i'm just updating those changes awesome and let's go in and save these tool paths so i'm going to double click on the word tool pass here to throw my list up here so you all can see it and uh for this one all the quarter inch end mills can be in order but remember top text bottom text you know make sure it tops on top and bottom uh our eighth inch end mill we've got our bottom text here and then our lower third okay and uh then our let's move this up in order where's my lower third eighth inch end mill all right so we got a top text eighth inch end mill bottom text eighth inch end mill and then the lower third uh eighth inch end mill and that would be last in the list because that um just gets done last it doesn't matter so it's last and then of course top text v bit bottom text b bit and lower third v bit right so starting off we would select all of our quarter inch end mills okay we'll save those and so um we'll go back to here to our main master folder and i'm going to create a new folder and call this option one class and in there again i'll just number it i'll throw a number 01 in front the reason why i use the zero is so it throws it in order uh zero one zero two zero three and so on all right my eighth inch end mill has three tool paths that we're gonna save together make sure they're all three listed here in the proper order save that and we'll put a number two in front of that and while i'm saving these last files any questions you have type them out now then we'll throw our 60 degree v bit in here and we'll throw o3 [Music] all right so um chuck uh asked the question what is the advantage of option one versus option two well one of the one of the advantages that i can see is that in the main pocket area and i'm here in option number one if you recall uh that uh we if we look at our tool path uh we were starting at zero and cutting to the eighth of an inch right we were pocketing out that whole top area there and everything um and because of the way we offset that back text when we created that bottom text tool path um you know we also started from zero and cut down to that final cut that eighth of an inch plus eighth of an inch so that means in some of these areas when it's going to that um when it's going through that open air space it's going to be carving air right it's going to be carving air and stuff uh so though the option too since we're cutting from 0 to let's say 0.1 and then in the bottom tool path we're starting at 0.1 and cutting another 0.1 for that total of that 0.2 we're not carving as much air we're not running and wasting as much time and we still get that nice transition we get that nice transition at the you know from the top of our text uh from the top of our text down to the bottom of our pocket cut we get that nice transition v both ways we get it both ways but this way we're not carving air uh you know a lot of air and we're saving some time and speaking of time i know ronnie probert likes to know uh times and things like that if we were to uh look at option number one's runtime and you know we got some additional text in here so it's a it's a little unfair but that's okay um we'll check off all the tool paths and based on my feeds and speeds based on my machine and everything uh this entire project uh let's see here one pm 1.3 uh this entire project will run about three hours and 11 minutes on this uh 26 by nine and a half inch stacked text on text project right three hours 11 minutes okay remember that number 311 3 hours 11 minutes all right and i don't know this must be a new customer that doesn't realize uh that um [Music] doesn't realize that i'm in a training session but i'll forgive them so sorry about all those beeps that you keep hearing in the background there's someone texting me some messages and stuff uh let's go ahead and close out of option one i'll save the changes to that we'll go back to option number two so we can look at the time the cut time so if i select all of my tool paths now i don't have that additional lower third tool path but we're still kind of milling the same area blah blah blah uh except for you know it's a little bit this will be a little bit faster because that lower third had smaller letters that it had to do right so not quite fair but still going to be a dramatic difference uh so option number two um two hours and three minutes versus three hours and 11 minutes so we've saved um about an hour and eight minutes of run time okay so that would be one of the advantages um i can see where uh doing the offset outward uh here where it even if we lose some of the font in that offset like some of the inner parts of the fonts that it won't be affected uh that it won't affect the design but on option number one where we offset the back text inward if any part of that fonts any one of those letters disappeared or you know went away then it would absolutely affect the design so we'd have to change the font we wouldn't be able to use that so that would be another advantage over option two that would be another advantage over option two is offsetting that top text outward and our border inward versus offsetting our back text inward because we don't have a whole lot of options there right so i could see that as being an advantage as well in some cases so that's it okay and um oh yeah that makes sense uh bruce uh here let's uh save those changes thanks bruce bruce said hey what was the run time just on the lower third that'll be the time difference let's go back in there real quick and then we got to get on option number three and wrap this up um so if we come back over here uh the lower third lower third uh the run time on that was 38 minutes so if my if this all if this whole project with that lower third was three hours and 11 minutes right and i took um i took 38 minutes off of it we'll just you know uh that would be an hour and 20 minutes so and then my lower text was what was it two hours and six minutes or something like that um so there's about a time difference of about 20 to 30 minutes if i did my math right ladies and gentlemen um yeah and and blue knight you know uh says you know this is a different name as well of course yeah that because there's more letters and different names and different curves and slowing down the ramping and turning this corner in that corner that's going to affect the time so we can't really compare apples to apples to oranges to oranges you know in that case and stuff all right let's get on to option number three uh option number three for a stacked text on text design uh is an aspire design and it's basically modeling the stacked text so let's go ahead and uh go into our aspire uh let's create a new file we're gonna go same size 26 by nine and a half by three quarter working off the material surface i'm going to start from the bottom left corner and click i want a high model resolution now i'm going to back this up when i'm building a model which is exactly what i'm doing here i want the highest resolution that you know so i'm going to hold my shift key when i click on create a new file holding my shift key down so that way i get those additional options in my resolution here i want an extremely high resolution about 8 million pixels that's my minimum when i'm building a model that's the minimum resolution and let's get into a full view so you all can see this when you hold your shift key down when you click create a new project it gives you two additional options uh an extremely high which uses 8 million pixels to generate that 3d model view or the maximum which uses 16 million pixels very rarely unless i'm doing a very detailed model very rarely do i work in the maximum i usually work in extremely high but i want a nice clean model if i'm building it because any pixelation in my model will translate to the quality of the cut the actual carve so i do not want to ever model or work with a model in a standard resolution or even a high very high is okay right you know that's that's your option you know very high is okay but i prefer when i'm modeling to work on an extremely high resolution so we'll click ok on that alright so in this one let's go ahead and uh create some text now i'm going to do the uh the spindle tv again uh just so we can kind of see how this would work in this uh so i'm gonna go a little tv uh i want this text to be two uh for right now i'm going to hit f9 to get it on the center of the board step number one i'm going to create my pocket still just like that so let's do that rectangle just like we did in the other three let's offset that rectangle inward by however much you want your border um and so i'm going to go one inch delete the original sharp corners okay all right now i can go ahead and get my spindle tv sized up so let's go ahead and give that a little bit of a stretch and let's move that up here i'm going to use my alignment tool to make sure it is centered left to right there we go all right now i'm going to work on my upper text my top text if you will so which is just going to be my name like before uh i'm going to use my rock river bowl just like before and let's go ahead and stretch it out stretch it stretch it stretch it out all right let's go ahead and use the alignment tool make sure it is centered left to right it is wonderful uh let's go ahead and size this up i like a little bit of height to that and i'm going to bump it down just a little bit right about there i tell you what let's go down a little bit more there we go kind of break that in and that e apart a bit all right and then um let's go ahead and um create our lower third your source on the y like in that uh all right let's uh get our font back in here and let's go with a 0.75 inch tall font all right i'm going to use my alignment tool to make sure that's centered left to right okay and um yeah you know if i wanted to throw a model in there or something i could right all right option number three in our modeling tools is we're actually going to model this up so let's go into a 2d split view here uh and uh so i'm going to select my bottom text first and i'm going to go into the create shape tool and on that uh create shape tool i'm going to do a rounded uh kind of a curved profile i'm going to go with a 90 degree curve here and i want to uh have a base height let's see how how tall i want my letters uh i'll give it a little bit of an extra base height of uh a sixteenth of an inch uh now let's go an eighth of an inch a little base height eighth of an inch uh i wanna limit the height of my that 90 degree dome curve there i want to limit that to uh a sixteenth of an inch so it basically creates a rounded over edge a nice rounded over edge and i want to add this so i'm going to go ahead and click i'll call this my bottom text here and click apply okay so we can see that all right we're going to start a new component and the reason why i um the why i went with the rounded edge is when i limit it to height it basically creates a flat surface but it's starting to that it's starting that 90 degree dome all the way around but then it gets limited at a 16th of an inch height or an eighth of an inch whatever however big you want your round over and that's what creates that rounded over edge there so that nice rounded over edge okay all right so on this uh my top text i'm going to keep everything the same here uh and all uh the only difference is is i've got to build this text up higher than this so on my text height i'm going to double this to an eighth of an inch and uh this is going to be merged with that bottom text not added to it it's going to be merged with it and we'll call this the top text and click apply okay and uh at this point i can look and see if i how you know i can add some more base height to this if i want to give myself a little bit more uh base height on my top text and i also want to reduce my round over it's a little too pillowy for me so uh i'm gonna go uh 1 875. and click apply let me see here let me see if that's too much base height for what i want oh hold on i hit i typed it in the wrong spot there guys and girls uh this is going to get limited uh it was a 16th it's going to get limited to 0.002 on that let's click apply okay so i want a slight round over there and i need to build up my base height here so we're going to go point one eight seven five the base height was was what i was trying to type in a moment ago and i i went the wrong direction okay let's take this to a thirty second it was a sixteenth let's go to a thirty second oh three one two five um oh three one two five it's a little flat i want a little bit of roundedness here there we go yeah much better now i can look at my text and i can see here that i want my uh text to stand up a little bit more proud so on this here i'm going to go a quarter of an inch instead of i'm going to add another eighth of an inch to that base height so we're going to build that up and click apply all right good let me zoom out and look at this kind of in a hole yeah all right i'm happy with that all right so we're going to create a new component on uh the tagline here i'm gonna go ahead and um for the tagline i'm gonna go with a rounded i'm gonna go with an eighth of an inch height i'm going to limit this to a 30 second and it's going to be an ad not a merge because it's not it's its own component and this is going to be my lower third and click apply cool beans all right so that's going to be my model and my sign i'm going to close this and now i want i still want it to look like that v bit uh right now it's more looking like a pocket kind of thing because those straight walls and i definitely do not want to carve this with straight walls i want what's called a draft i want a nice bit of angle coming out from those letters and everything so on my uh three options here my three bits of uh text i want to add a draft to this an angled draft and uh i'm gonna go i don't know let's go 22 degrees and click apply and see what that looks like first let that build that up and while that builds that up let's see here yeah jerry uh the font uh that uh bulge i just uh um the the maker the maker of that font i just bought their entire package um of fonts and there's they had some beautiful ones in there some old style fonts and everything uh and everything uh they had a sale on facebook so i bought it uh this uh this font company had an ad i clicked on the ad and bought it all right so what that draft did is that draft added some angle here to the edges to kind of give them that nice angled uh you know look and flow um and so i could if i wanted to you know all right that's a 22 degree draft let's just real quick let's look at a 30 degree 30 degree is going to be too much i i don't like the i personally i kind of 30 is about the maximum draft that i would go um but i usually like 10 15 or 22 a lot of times 15 or 22 degrees that's kind of my mid-range 30 is my maximum range that i would go on the draft angle but let's see what a 30 looks like i think i'm going to be happier with the 22 and then we'll go over and create our tool pass okay so if we look at that uh let's go straight on let's maximize this view up now so that 30 degree angle it just blends everything in here a little bit too much i like a little bit of space so i am going to go back to the 22 degree draft and then we are ready to go okay so let's click apply one more time uh let's get that cleaned back up and we'll be ready to create our tool pass even uh even the way this looks with all this airy space right there even a nice 15 degree draft just to give some angle i do not want these walls being straight down uh i'm using a tapered ball nose bit i want the nice clean where that bit is just um where when it uh is traveling it can travel you know in a nice ramp you know when it's coming and cutting and stuff uh and instead of come having to go down that wall and all i like a little bit of a draft angle uh in those in that model hi how are you doing we gotta go batman all right let's close that okay so uh this will be the uh text on text design here all right so now what i need to do is i'm going to go into my material setup here and i'm going to look at exactly how tall my model is okay my model height is 0.2813 that's my magic number that's how tall from the top of my text to the very bottom of that text there that light tan area it's 0.2813 okay so um i'm going to write that down 0.2813 all right okey-dokey and um i want the top of my text i want the top of my text flush with the top of my material right so i need to bring that model down put a gap above it 0.2813 okay because i want the top of my model i'm an idiot no i don't don't do that you want it back to zero ah put that thing in mega zero man what are you doing i want the top of my text flush with the top of my board okie dokie all right let's click okay gosh almighty all right uh and i'll tell you what i was trying to think of and what i was thinking what i was what what i thought the hell i was doing all right so now on my model here uh i with that draft it looks a little spiky here and all that stuff but with that draft uh there is a new boundary line that needs to be created because of that draft right so i'm going to come into my modeling tools here and i'm going to create that boundary line over my selected models now this if i turn all this off i don't need this visible anymore these three because when i put that draft in there it recreated a model model with the draft right so all three of these are basically kind of like our original they can be turned off so that model with that draft i want to create a boundary a vector boundary around it okay and that's going to create that outer vector boundary around those letters and all cool all right let's create our tool pass this is going to be a 3d rough cut make sure my model position is still at the top very good okay it's gonna be a 3d rough cut and a 3d finish but i want to uh let my pocket my 2d tool path do a lot of the work okay instead of my 3d tool path even though it's a quarter inch end mill instead of letting it you know uh kind of take its time doing this i want to do a pocket tool path and that pocket tool path is going to be to be between this boundary and that outer outer outer boundary that i just created okay and on that pocket tool path the cut depth is going to be you guessed it that point two eight one three how tall my model is that's going to be my finished cut so that's my magic cut depth number i'm going to use a combination of a quarter inch end mill and an eighth inch end mill kind of double up on it a little bit so we'll go with the quarter inch end mill and the eighth inch end mill i'm going to raster i want to cut with the grain with the grain with the grain with the green and i'm going to this is my bearing pocket okay and i'm gonna calculate that [Music] okay so um for time's sake purposes and everything on my tool path preview simulation quality i'm going to turn that down and preview that visible tool path so you can we can see that yeah i i you know i sometimes i i i watch those ads on facebook jerry uh and uh look for those things when uh i got some amazing um photoshop and adobe photoshop and illustrator uh or mostly photoshop some great great uh tran you know transitions and elements and things like that super cheap more a lot cheaper than i could buy them if i would have bought them uh you know straight out uh and uh their their this guy created them and he was selling his whole collection it was a beautiful collection and uh yeah i always keep on an eye out on those facebook ads okay all right so now that my clearing tool path is done now my 3d finishing tool pass okay our 3d rough tool path can focus on the model as the boundary so it could just focus on working on the model area you know this here and here it doesn't need to worry about any of this other stuff any wasting time any of this other outer stuff here because uh it's already been cleared away by that pocket cut so on my model boundary the one thing on the rough cut uh i want to use um a i'm going to use a quarter inch end mill i'll stick with the quarter inch end mill this one does not have you know options for multiple tools that's fine uh and um i'm going to let that end mill uh go past my lines by half the bit radius of the bit i want it to leave a 40 thousandths of an inch machining allowance for the finish bit to clean up and i want to do a z level raster and this is going to be my 3d rough and calculate that so that .125 offset allows that bit to when it's carving you know using the model as the boundary it allows it to go past that model just enough to kind of blend things in so if we preview the rough cut visible toolpath that's going to come back and uh very little bit not a whole lot at all so it's all finished cut from here my finished cut tool path is going to be using my i think i could do pretty decent probably really good detox there's a 16 inch tapered bow nose uh but i should be able to get pretty decent detail with my eighth inch tapered ball nose so we'll do that one first we'll take a look at it and um again i'm going to use the model as the boundary and this time i'm going to let it go past that tapered wall nose i'm going to let it go past that model so it gets down on these edges and everything the edges of the letters i want it to go past the model so it gets down them edges all the way to the bottom of that cut so i'm going to let it go past by the diameter of the bit uh an eighth of an inch and again i'm going to raster with the grain and this will be my 3d finish cut we'll calculate that that's going to take a second to calculate so while it does it's going to take a second because i'm using a very high resolution um so it's going to take a moment so right now while this is calculate because as soon as this is done we're done so uh we should be finishing up in about uh eight or nine minutes so it'll be a two hour class tonight versus that big old three hour so yes this is the place to find short to the point veterinary videos for whoever asked at the beginning of class two hours short but uh if you have any questions now's the time um and blue knight did have a question so we'll answer that one first um can you change the resolution after you finish no nope whatever your project setup is set up as whatever resolution when it builds when it generates and builds that model it's going to build it off of that resolution so you can't change it if you took a job let's say i built a job with a very low resolution build a model with a very low uh resolution you know save that model even export it out as an stl and i tried to let's say i imported it into a project that i just set up with a high resolution the models was created at that low resolution and it's uh going to be imported at that low resolution i don't it doesn't matter that the project itself is at a high resolution that i'm importing it into it was created in a low resolution so if you ever purchase models off of ebay and etsy and some of them were kind of crappy and all because they didn't have a good enough resolution yeah but uh you can't take a low resolution model and make it a high resolution but you can create from scratch a model in high resolution if you start off that way hopefully that answered your question blue knight all right let's see here so on this one we're gonna have uh three tool paths we're gonna have a pocket cut that's gonna do our clearing tool path uh we're going to have a 3d rough cut that's going to just do a little bit of rough work those two use a quarter inch end mill so they're going to be saved as one file so it'll after the pocket's done it'll come back and do that little 3d rough and then we'll do our 3d finish and if we look at our 3d vintage i'm going to zoom in nice and tight that offset allowance that eighth of an inch offset allowance allows that bit to get past that model right allows it to get past that model uh to uh you know uh do some cleanup and stuff and so uh we will go ahead and preview that final tool path and i can tell right now just by looking at the training cam training that i want to use my 16th inch tapered ball nose for this not my eighth of an inch yeah most definitely my 16th inch tapered ball nose uh the radius is too big for the letters up here so it doesn't look good at all so um and everything i mean it looks decent enough but i can see the uh tool marks it's hard to see with this low resolution preview but i can see those tool marks and everything in there so for me uh on this 3d finish cut i would use my 16 inch tapered ball nose the smaller diameter of all knows for that cleaner cut and um i would uh i could uh i could still let that bit go over an eighth of an inch or i could just go the full diameter of the bit i'll still be able to get past so i'll go 0.07 on that that offset allowance and um you know i'll calculate that but yeah ladies and gentlemen that is um going to take a minute to uh calculate we've got about four minutes to go um let's follow ronnie's advice there and i think uh crystal was throwing out some of that information earlier and someone else you know hit that thumbs up button uh in the video on youtube uh if you have never joined us before and this is your first time joining us and you like this video uh definitely hit the uh uh the thumbs up button uh subscribe to the channel hit that little notification bell so you get notified when these events all happen like this and um all that good stuff but uh this is uh three approaches to working with uh or creating a vcard style looking style text on text option number one creates three layers your original top text and your bottom text layer and then you offset the back text inward based on the v bit that offset on that v bit you know do that little drawing draw your v bit out move the line up you know and measure that offset option number two and i should put in here in the options if i was doing this properly uh if i was making these notes properly um i would say that in option number one both top and autumn toolpaths start f is zero okay so both the top and bottom pull past start depth of zero with option number one option number two we create four layers our original layer our top text layer bottom text layer our welded text layer so it kind of separates that welded text layer and then again based on that v bit this time the top text is offset outward and the actual boundary that inside boundary is offset inward by the same amount you know whatever that offset number is and in the case of option number two uh the top text toolpath start depth is zero and the bottom text tool path start depth is uh starts at let's see i can wear this uh start at where top text finished right or uh you know uh starts at uh let's see the bottom text toolpath starts where the top text toolpath finished let's do that where the top text tool path finished and um and i could do right finished and so that's the difference between those two options and then of course option number three is actually modeling the stack text in the design so quickly let's uh reset this preview let's preview all these tool paths so we have our pocket cut that's going to do all the majority of the work and this by far guys and girls is going to be the longest running project of all three options uh this one will because it is a model uh it will run the longest of all three i i pretty much can i'm sure of that and we'll look at the run time uh here so yeah the 16th of an inch bit can get a little bit cleaner in there that sixteenth of an inch tapered bottom let's get a little cleaner in there all right and then um you know so we have that uh you know nice stacked text and so when this text is stacked and created there's a draft added that draft angle is kind of whatever you want it to be i'm kind of like this was a 22 degree draft angle that angle there we don't want our text to be straight up and down we if we're going to be using tapered ball noses bits and things and we want that bit to be able to travel like a ramp you know so it doesn't really have to slow down that much see if it's a straight wall that bit has to come in stop almost raise up to cut that edge and then over in this case you know it's just slowing down to climb up that ramp and then over so it actually kind of speeds up the tool path by doing it adding that draft and all um let's go ahead and uh look at our uh tool pass here and let's stay consistent to wrap up this on a good note we're gonna rename the clearing tool path uh to add our 0.25 em in there we are we followed that clearing tool path up with a 1 8 inch windmill to kind of get in there and get a little you know a little tighter uh we've got our 3d roughing uh was a quarter inch end mill and then our 3d finish was a sixteenth of an inch point zero six two five okay whole nose okay and so if we look at if we select all of these and again based on my machine my feed rates my run speeds and stuff uh we are looking at a 10 hour and 11 minute job from start to finish on that okay uh about an hour two hours and 22 minutes just for the pocket cut alone uh the 3d rough cut was about 16 minutes but the 3d finish cut with that tapered ball nose is 7 hours and 30 minutes so not an option for everyone but it is an option right uh and again that that run time and all would base uh would change based on your bits your feed speeds your you know your feed rates and all it'd be based on your machine and its rapid rates and all uh in your scale factor so it would be adjusted accordingly all right if i were to save these to uh close out with a uh finale here uh we would save our quarter inch end mills uh we'll go ahead and move that up in the list our quarter inch end mills that 3d clearing uh or that pocket clearing in that 3d rough can be saved as one file and let's hit cancel because we got to make sure we check off the box that says output as one file uh we don't want that to be a laser i want my helical arcs option and uh this would be one and in my option class here we will create a new folder and call this option three and we'll save that uncheck that followed by our 8th inch pocket clearing bit save that this will be o2 and then finally our 3d finish tool path we'll save that and that will be the third tool pathway to run all right ladies and gentlemen so that is a look at three ways that we can kind of approach our text on text uh mark ottman was on to something i kind of like his method uh the first method option one is the option that i teach uh that i've taught you know ever since you know teaching text on text uh but after catching mark ottman's uh you know video uh check out it's uh i think that's the name of his youtube channel too mark ottman ottman uh just type in text on text vectric in uh um on youtube it's about a nine minute video he breaks it down in about nine minutes me taking two hours here uh but he does it about nine minutes and uh you'll know in the preview it has like uh sally jones is the little preview picture of the thumbnail give him some love uh you know he's a you know i don't know personally but uh you know i learned the how to do the second method that way uh from him so gotta give him credit right and uh now i'm sharing that information with you all right everybody i really appreciate you uh and um let's uh before i say my goodbyes let's make sure i didn't miss anything i hit that button as soon as i bring up the channel thanks for the hard work i like aspiring myself thanks lainey great great everybody's kind of saying their goodbyes uh chris crossgrass is always uh uh popping in late as usual but i'm glad you made it my man uh thank you crystal michael i didn't say hi to you this evening hopefully you were watching me uh have a great night get some rest and uh let's see here uh david laney to help set the z when using different end mill bits what is the speed of the alignment tool when it comes down when aligning the first bit i always recommend if unless you have an automatic you know where you click a button and it comes down and sets automatically even on that automatic in your cnc settings uh there are speed settings how slow it comes down to touch off um i always come down about 10 inches a minute uh to do my touch off if i'm doing it as a single touch off my um the quick set block for the digital wood carver 2440 it's set to come down at uh uh 3.54 inches per minute nice and slow for an accurate touch off uh if that's what you're uh what's the let's see here to help with setting the z-axis using different end mill bits what is this [Music] i think you mean [Music] but okay something's happening you see it blanking count let's see [Music] all right okay i think i think i'm still broadcasting but i don't know it looks like i'm lost because i can't get david i'm back all right all right guys something's going weird and we got blacked out for a minute there uh the sound went weird everything went weird everything went crazy all right guys and girls hopefully my sounds not weird as i close out and say goodbye until next time y'all have a great day

Channel: SpindleTV

Views: 9,996

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Id: fksyxSRoIXE

Length: 129min 40sec (7780 seconds)

Published: Tue Sep 01 2020