July 28 - August 4, 2023 "Your Most Difficult Project" Contest

So many photo art projects! Thank you to the makers who participated in this week’s contest, where we asked you all to post your photo art carvings made on your LongMill.

We are happy to announce that Vince Iannotta, Homestead Acres, John Hitcher, Lance Wilkins, Mark Eisenlohr, and @NelsonJ are the winners of the "A Project That is Photo Art” contest! Watch out for a prize!

For this week’s contest, we want you to post what you think was the most difficult project that you made on your LongMill. Share them with us for a chance to be one of the winners of this week’s contest and win free prizes! Bonus points if you tell us why it was the most complicated one for you.

Visit our blog for more information on our Weekly Themed Contest:

Weekly Themed Contest Rules and Guidelines:

Have ideas for themes? Let us know by commenting down below!

Happy making!

The most difficult project was a very simple house number.
A slap of teak I had lying around seemed to have the number already in it. It just needed to be pocketed in the right places to pop it out. To do this, I needed to trace a photo I took of the slab clamped to the machine.

I had to pretty much eyeball my xy-zero, and because I liked the rough look of the slab, I took a wild Z-zero somewhere and hoped for the best.

I had already consulted with the client, and they would be disappointed if I didn’t pull it off.

It was a painstaking design, for I have more or less only worked with lightburn and am just starting to get into carving.

Anyhow, somewhere down the line, I adjusted the probe-block height to account for my clamping, and I forgot to readjust it back. The only reason I got away with it was that my first carving was only a mm deep, to see if my pockets would align. If not, I could still surface the piece and get a second chance.

Lucky for me, everything aligned, and I got the #15 I was aiming for. at roughly the depth I was aiming for.

To finnish up I drewa few lines from the left pocket towards the roughest part and get a more natural transition between my pocket and the roughness of the piece, using fluting toolpaths.

Even with the stupid booboo, it was a very satisfying project to stumble through and get a bit more hands-on experience with V=Carve.

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