0:01welcome to another fiber laser Learning Lab I think we’ve been quite successful in trying to find out how these colors
0:08actually exist what causes them how they come about and how we can generate
0:14different textures on the color those that are smooth tend to be very light
0:20sensitive and those that have got a texture to the surface like those that
0:25you can see on the top row there they’re much more durable you can see the colors
0:30in many different directions so they do change texture depending on the way the
0:36light catches them but they’re not the sort of things that disappear to black now my definition of a production color
0:42something that can be created quite quickly most of the colors that I’ve seen being produced have been these
0:50smooth colors which are lighter sensitive very very fine pitch and very
0:56very slow speed that in turns means they take a long time to cover an area with a
1:03color my aim is to try and find ways of producing the color quickly and durably
1:09just as an example here we’ve got a gold just there at 3 it’s 2,000 millimetres a
1:17second and 1 micron pitch to do that little square probably takes 4 or 5
1:23seconds this one at the bottom is exactly the same color not quite as
1:29sparkly but it’s certainly a production worthy Gold which probably takes less
1:37than half a second because it’s done at 60 microns pitch and two thousand
1:44millimeters a second with a 30 nanosecond pulse I’m getting the feel
1:51for the way that these colors operated there they are in a way very temperature sensitive but not sensitive to the
1:58atmosphere but sensitive to the temperature that you can induce into the surface with pulses and power so I’m
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
2:05getting quite a warm cuddly feeling about being able to create these colors
2:13so from my experience so far what I’ve done I’ve actually put I’m producing
2:20what I would call a color search it’s a prospecting swatch which allows me first
2:26of all I’ve decided that the range of colors that I’m looking for are going to be sparkly colors in this range I’m
2:32around about 1,200 to 2,000 two millimeters a second and I also know
2:38that it’s very likely that the colors that I’m going to be looking for are roughly between four microns and one
2:44micron they may be down at 0.5 of a micron but I’m not going to be looking at that at the moment we’re just going
2:50to do a prospecting search between these two microns and these two speeds and
2:56we’re going to do it for every single pulse width now to be honest I got to
3:03the bottom of this page here and we got as far as 30 nanoseconds pulse and if we
3:10look at these results again you’ll clearly see that once we got to the end
3:15of this column here we almost ran out of color there is no color in these second
3:23and third rows here in the B’s and C’s so b1 was the end of the six known a
3:31second pulsus that’s where our color stops I ought to be just looking in the two four and six down a second polish
3:38region for the colors I did push on to the bottom of the page because hey I like things to round off nicely this
3:44here was the bottom of hide page 30 nanoseconds 1200 millimeters a second
3:50with a 1 micron spacing now that gave me a very nice really nice matte black but
3:58then all these other colors here there’s no color in them so when I arrived at this point here with a 30 nanosecond
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
4:06pulse 1200 kilometres a second and a 1 micron line spacing I got dead jet black
4:14very nice but I’m already getting the message Hey there aren’t any more decent
4:21colors to be found at this end of the range there’s no point in increasing the pulse length anymore all
4:26do is finish up burning a hole through the material if I’m not careful so let’s stop at this point and consider whether
4:32or not there is something hiding below this black well I mean below this black
4:38can we reduce the power on this black patch and find some color well there are
4:44two ways that we can reduce that the power into that black patch this is done at 1200 millimeters a second so the
4:51first thing that we could do is increase the speed which decreases the number of dots horizontally the next thing we
4:58could do would be to increase the pitch from one micron to 10 microns so this
5:04one is 10 microns and two thousand millimeters a second so we’ve significantly decreased the number of
5:11pulses per square millimeter and we’ve changed it from black to dark brown okay that’s very good let’s let’s
5:19see what else we can do we can’t change the speed anymore because we’re really running maximum speed ie we’ve got the
5:25minimum number of dots across so the only option left for us now is to increase the line spacing so here we’ve
5:31increased the line spacing from 10 to 20 microns hmm it’s improved it a bit it’s
5:39turned into a slightly lighter brown just a bit of a almost like a pale gold so let’s go one more step and we’ve
5:47taken up to 40 micron spacing we’re getting a little bit better gold now and
5:53here we are at 60 microns spacing yes 60 microns that’s one beam width and we’ve
6:01got a lovely gold you know at the end of the last session I showed you the pattern for what looked like a matte
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
6:08black but this one is not going to fall your eye this is exactly what it looks like matte black this is done at 90
6:16kilohertz so now with the speed at 2000 filmy is a second you can actually see
6:22the pulses this is the line that created this pattern up here this is the last
6:28line just here where my finger is so let’s just go and have a look at this pattern I’ll just move that up off the
6:34screen ok the contrast changes I mean there’s no doubt you can see that the general background there is black
6:39but what are those little white pieces well it’s zooming have a look because these are little blobs of stale so go
6:46we’ll gradually raise the table up and bring the top of these little elements
6:53here into focus just there now that’s
7:00120 let me raise it up by 20 microns 40
7:08microns 50 60 microns and we’re still
7:14not at the bottom of the pit yet 70
7:19microns 80 microns
7:30just about there somewhere around about 82 or 85 microns that is a very very
7:39rough surface let’s go down a further
7:44magnification
7:49you can see the last line here and you can see the wake this rubbish has
7:57created on either side of the line sitting here so as we move up so we’re leaving these little wakes of globs of
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
8:06Steel which is sticking up above the background thought you might be
8:11interested because this all helps to paint a picture of where color comes
8:17from in this particular instance we’re seeing no color even at this level but
8:23sometimes you can see color and you still get black but I’m going to have to
8:28investigate all these lower powers but particularly the ones here in the 2 4 &
8:346 known a second region because they’re the ones where I think I’m going to discover the colors that I’m looking for
8:41this next bit is going to be a very tedious task for me I’m gonna have to sit by the Machine and I’m just gonna
8:47have to play with a few factors I hope to do it in a fairly logical way and hope that at the end of it we should be
8:53able to produce a nice palette of colors so I’m off to do quite a few hours worth
8:59of work and I’ll come back and report to you when I’ve got some interesting results this is a tedious job but it’s
9:06fascinating I said that wasn’t gonna
9:11involve you and I’m not going to involve your great deal but I thought you might
9:17like to see a little bit of the method or procedure that I’m going through to
9:22try and get these colors because I’m got I’ve got a little bit of an intuitive
9:28feeling about where these colors are and how I can get them now and I’ve got a list here so far of about 14 colors that
9:35I’ve identified nice clean crisp colors that I think we should be able to use if
9:41we want to do some artwork I’ve still got a lot of colors to add into my palette but slowly slowly with building
9:49this list for example oh look at my a3 swatch and I say that’s quite a nice
9:55sort of maroon color dark purple start off just there and see how we can
10:03develop from that color so d3 800 millimetres a second with the 20% power
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
10:10and the pilot mode 30% so I’ve actually increased the power to get a lighter
10:15color on this swatch now I’m sure you can see in this light that that is a very dark maroon and underneath it we’ve
10:23got a slightly lighter dark purple and then we go on to a sort of a Apostoli
10:29color here which is a a lilac e pink that color there is only skin-deep
10:37it is only manipulating the oxide layer the mop the molecules in the oxide layer
10:44and changing their colors the colors I’m looking for are disrupting the surface
10:50of the metal underneath as well and I’m producing a texture that’s what gives me the sparkly effect now the current range
10:57that I’m going to be finding will be probably significantly different than
11:02the range that I could find if I was looking for these superficial surface colors now the surface colors are what
11:09everybody else is looking for and everybody else is identified eventually I’ll probably go back and try and track
11:14these down as well because there’s probably a much wider range of colors to be found but that’s not my first task
11:22because they take so long to produce they’re very very slow they’re not what I would classes production colors and
11:28the whole point about this is you want to use these colors for something it shouldn’t just be a gimmick to sell the
11:34machine we’ve gotta first of all try and recreate d4 and that’s my starting point
11:40it’s completely repeatable ideally I’d like that color to be sparkly and as
11:48dense as that so here are my starting parameters 800 millimeters a second well
11:55I know I’m not going to get sparkly colors at 800 millimetres a second I need to be a thousand or 1200
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
12:02millimeters minimum to get sparkly colors so if I change that to 1200
12:09millimeters a second this is this is less of a predictable thing I don’t know whether their power
12:15is linear or not when I’m using for nanoseconds I know that I’m using a
12:21frequency of 500 kilohertz so the kilohertz is fixed therefore the
12:29only variable that I want to play with is the number of pulses per square
12:35millimeter as I increase the gap between the lines I’m reducing the power and as I reduce
12:42the speed I’m increasing the power using this little general rule about pulses per square millimeter provider don’t
12:50fiddle with any of these factors here what I can say is look I’ve reduced the
12:56pulses per square millimeter horizontally because I’ve increased the
13:01speed and I’ve increased it by better third what I ought to do is to decrease
13:07this by a third so really to take this down to something like point zero zero
13:15zero six so I’ve gone faster on the speed and and smaller on the pitch net
13:23result is it’s probably still going to take quite a long time to produce this color but I might be able to make it as
13:29a sparkly color now because you know I’m playing with the same numbers the same nerve repulses roughly the same number
13:35of pulses per square millimeter okay well that was reasonably successful wasn’t it considering I’m not using a
13:40calculator I’m just guessing what we’ve now got is 1200 millimeters a second that’s the age of my sparkly region
13:47problem is we haven’t got a sparkly finish because the pulses are seriously
13:54limited because we’re only using 30% power so all the spike enos of this
14:00sharp pulse is not there so we’re doing very little damage to the surface of the material that we need to do is now push
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
14:07the percent power up now if we push the percent power up we’re going to change
14:12the color now this is where I say percent power is a difficult thing to play with while I’m just playing we pick
14:18pulses per square millimeter as you can see I can really easily guess what’s going to
14:24happen as soon as I start messing around with the power mmm I’m joking off the
14:30edge of the cliff and I don’t know what’s at the bottom let me put the power to something like 50% to make the
14:38pulses sharper it means I’m putting more power into the job now there are two ways to get rid of the power number one
14:45I tell you what we do we’ll leave it at 50% and I’ll show you what happens well
14:52there we go that’s what’s happened we’ve produced a lovely sort of like pink lilac e color now of course what you can see here with
15:01the previous two calluses they’re not as bright because when you turn them to the
15:07light they’ve got this surface proper look they disappear you can only see
15:13those colors in certain lights but look at the move at the bottom as I turn them
15:19over and it’s remaining there’s a slight change of colour there but we’ve now
15:25messed around with the surface texture that’s by increasing the power to 50%
15:31okay so now we’ve got the texture of the surface there what we’ve now got to do
15:36is try and get the color back now what we’ve done we’ve increased the power so
15:43now we’ve got to find a way of decreasing the power and there are two ways that we can decrease the power first thing is we can increase the speed
15:51now we know that increasing the speed is only going to make it more sparkly from
15:561,200 let’s go it to 1600 and see what effect that has now hopefully that’s
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
16:02going to bring us bring the color back down closer to these darker colors let’s
16:10give that a try so that didn’t work quite as planned we didn’t finish up with the darker mode
16:16we finished up with a latte coffee color it’s a very nice color which I shall
16:21have to make a note of on my palette and instead of changing the pulses
16:28across which is what the speed is doing we’ll try and change the pulses vertically in the y-direction by
16:35changing the pitch so we’ll change the pitch back from six tenths of a micron
16:42to one micron and see what effect that has so we went when we went from 1,200
16:50to 1,600 millimeters a second we reduced the power so much in the horizontal
16:56direction that we caused the coffee color so what we’ve now done is we’ve decreased the speed in the horizontal
17:04direction to increase the number of pulses again but this time I’ve offset
17:09the increase in pulses in the horizontal direction by decreasing the number in
17:15the Y direction by increasing the pitch from 0.6 of a micron to one micron and
17:23we’ve got our move back again so if I reduce the power even more can I get
17:30back to a darker move and the way that it looks as though I’ve got to do that is by changing it in the vertical
17:36direction and not messing around with the speed so I leave the speed at 1200
17:41and this time will change to something like about 1.5 microns it’s only going
17:47to be a small micron change to affect this quite dramatic change in the amount of heat that we’re putting into the
17:53surface well we’re losing our color again and we’re going back to a sort of a latte color so I can’t change the
18:00color the way that I want it to change by decreasing the pitch let’s change it
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
18:07the other way just in case well we are getting it back again let me take it
18:12right the way down then to something like about zero zero zero two point two
18:19of a micron that’s a silly a number let’s see how dark I can get it look even down at two tenths of a micron it’s
18:26made no difference to the color can I take the speed up and change the color
18:32now and 1400 is taking us towards pink
18:38Brown so let’s go down to a thousand that’s a long way back eight hundred and
18:46stubbornly refuses to change color but what it does demonstrate is the huge
18:53range of parameters over which you can find these colors we’ve put that nice
18:58latte color in our color swatch I think we ought to have one of these nice lilacs in there as well all I’ve got to
19:04do is find out which one of those was the fastest that’s the process that I’m
19:09going through very tedious but I’m enjoying hunting for these colors as you can see I can chase these colors around
19:15by just understanding how the colors come about the amount of heat going into
19:22the surface here we’ve got a couple of dark purple or maroon colors which are
19:28not sparkly colors so I can’t actually get these colors into my sparkle range
19:35but they have proved very very useful in telling me something about the way these
19:42colors are produced and the way this machine works now in the easy CAD software just here I have the option to
19:50change the way in which scanning takes place I’ve got I think five options
19:58we’ve got this one here which scans backwards and forwards and also joins up
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
20:05the ends of the scan lines we’ve got this one here which looks as though it
20:12might be an intermittent scan I don’t really know because I haven’t looked it
20:19up in detail we’ve got another one here which is a unilateral scan which means
20:26that it only scans in one direction and the red lines indicate the flyback lines
20:32to the beginning then we’ve got this one here and the red lines on the end
20:39indicate the fact that it flies from one end up across
20:46across up when the ups are not included in the cut it’s only the backwards and
20:52forwards bi-directional scanning which are included and then finally we’ve got
20:59this funny one which is a circular one which is a really strange one and I don’t know why you’d want to use this
21:04because I’ve got an idea that it gets that the actual beam gets slower as it
21:09gets towards the center but whatever is we have got these five different scanning options and only that one I
21:17think as a usable scan the unidirectional scan you can see the
21:22strange color marking on this top pattern here it almost looks like a graph that’s the bi-directional scanning
21:30the one underneath which is the nice uniform pattern is the unidirectional
21:36scanning this one here is the dotted
21:41line scanning this one here is one of those it’s got the joined up ends and
21:48you might not be able to see that very easily but there are basically little diagonals little dark diagonals that
21:55come out from the center and the centre itself is dark that’s the spiral scanning so of the
22:00five scanning possibilities that this machine offers only one of them looks as
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
22:06though it’s going to be suitable for using to try and track down in the colors now I have been using both the
22:12bi-directional and the unidirectional scanning and it has probably accounted for some of the strange results that I
22:18have been getting now as I’ve mentioned to you before there is no exact formula
22:24for any one color there may be a range and some of the colors that I’ve discovered have got huge range of
22:32opportunities you’ve heard me mention several times that I’m looking for what I call production colors now production
22:38color to me is something that can be done quickly and efficiently with a good stable color and not one of these colors
22:45that you have to look at in a certain light to see what it’s really like to make bought to make things a little bit more accurate in my comparison I’m going
22:53to run a ten millimeter by ten millimeters and this will tell me how long it takes to engrave a hundred
22:59square millimeters
23:11so that’s about 66 67 seconds okay so I’ve loaded another set of
23:17parameters in here and you’ll hopefully spot something quite significantly different this time apart from the time
23:31but slow there wasn’t I it was about four and a half seconds bit different 66
23:36seconds isn’t it now we can move those goals around in all sorts of lights as you can see and they do change in
23:43texture a little bit but you however you look at them you can see that they are gold whereas some of these other colors
23:50on here disappear to black well we’re
23:56back in the office now because after several hours in the cold workshop producing lots and lots of color
24:01swatches it’s always interesting because I’m learning a great deal about where these colors are coming from and how you
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
24:08can chase them around a little bit and how you can modify them now we’ve just come off of talking about how some of
24:13these colors are very fragile look at that lovely salmon pink and Moe they’re
24:19fantastic colors provided you look at them from just the right angle you move
24:25it slightly and they almost turned to black they lose all their colour that’s
24:31what I define is a fragile colour now something that I have discovered which
24:36undoubtedly other people already know is that we’ve got these two colours here
24:43and decide them we’ve got a plus and a minus but they’re not really plus and
24:48minus because what I discovered was that if I do a single scan which is what the minus means it means a scan in that
24:55direction then I get this salmon pink but if I use exactly the same parameters
25:01and I change my scanning technique to a double scan it scans across to start
25:07with and then vertically I get a different color so I’m modifying the
25:12surface film by doing the thing twice if I scan across it this direction twice I
25:19don’t get that color but if I scan it in the opposite direction I get a completely different color the
25:25difference is that the single scan this one takes one minute 39 seconds to produce a hundred square millimetres
25:31this one takes three minutes six seconds which is more or less double the time to
25:37produce a group reached a point where I think we ought to sit down and summarize
25:42what the goals this project our because I could spend hours and hours chasing colors around on
25:49bits of stainless steel it’s fascinating I’m learning a great deal but I have to
25:56stop and say how do I know what I’ve achieved a goal I haven’t even set any goals I need to
26:03put boundaries on where we’re going to go now we’ve just seen with the two gold examples how one was done quickly and
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
26:11the other was done relatively quickly you could view them in different lights and they would still look like gold on
26:18the other hand there were other colors that we talked about which were I think I used the word fragile which meant that
26:26they they were lovely colors provided you looked at them in the right light from the right angle so what I’ve done
26:33I’ve sat down and worked out a quick ranking table for how I would judge a
26:39color can it be viewed in different lights and still maintain a reasonable
26:46semblance of the color that you thought it was and be can it be produced
26:51cost-effectively the realization of this came about when I started to do these examples this here
26:59took one minute 25 to produce this one took one minute 48 still reasonably fast
27:11this one which I never finished was already about 30 or 40 minutes in before
27:18I decided to abort it because it was going to take an hour and a half to make me two hours to produce this now as I
27:25was messing around with these small swatches I realized that there was a difference in the time taken to produce
27:30some of them but I wasn’t putting any quantifiable data down that enabled me
27:35to say yeah this is rubbish or this is not rubbish so that’s what I’m about doing here with my ranking table a
27:42b-grade color is something that it may not have the widest viewing angle and it
27:48might not have the widest color tolerance but it’s reasonably durable and it can be deposited in
27:56when I say a reasonably cost-effective manner these are very all subjective
28:01judgments I have now settled on 10 by 10 millimeters which is one square centimetre hundred square millimeters
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
28:08for the standards and not only am i logging the parameters I’m also logging
28:15the time taken to do the one square centimeter you’ve got to choose a number
28:20for yourself what is cost-effective for you but when you’ve got a twenty thousand pound machine I would have
28:27thought that if you’re spending more than a minute to do a square millimeter it’s not really cost-effective that’s
28:34just me speaking as an X production engineer you know I want things to happen quickly and efficiently so
28:41anything that’s a C and a degrade color is out the ballpark as far as I’m
28:46concerned C grade colors may be very very pretty but they will have a very narrow viewing angle as we’ve just
28:52discussed they they’re not very durable two different light sources you know
28:57different colors in different lights and they can’t be done in a cost-effective
29:03time okay so now I’ve got a white LED light that I’m shining on them
29:10nice colors aren’t they hang on that was a nice pink a few minutes ago that’s now
29:17looks almost like an orange now so let’s just change the angle of the light if I can there we go
29:24there is a very a very much suppressed range of colors in LED light it’s very
29:30white there’s not much red or orange in it so what we’re picking up has a
29:37completely different sort of reflected color range depending on the light that
29:43we use to view these colors in ideally we’re looking for colors like this which
29:49regardless of how you look at them in the light most of them remain pretty stable we’ve got one there that he’s not
29:56you’ll see that changes color dramatically as I look from gray to black and then when we shine LED lights
30:03on it they’re still pretty much the same
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
30:08they’re gold and Silver’s and then we’ve got basically degrade colors which is the worst of everything very poor viewing
30:15angle very poor tolerance the light takes an age to produce most of the colors that we’re going to come across
30:20that I want to know about our eyes and bees there are certain strange
30:26properties happening when you do crosshatch it’s been a revelation because it means that I can go quite
30:32fast I can get some quite amazing durable colors with cross hatching an
30:38ivory color on here is a durable a grade or B grade color because we’ve got this silver here which is basically rubbish
30:45it’s a serie degrade got a lovely gold here which takes 3.9 seconds to produce
30:5010 square millimeters now that’s a pretty good deposition rate and that’s a production color as far as I’m concerned
30:56we’ve got another gold here which takes a second longer for 0.8 seconds so okay
31:02so it takes 25% longer we’ll come back and look at the difference between these two colors under the microscope in a
31:09minute because why would I use one in preference to the other this is a
31:14slightly brighter lighter gold and maybe this has got a slightly better light durability I mean when we get down to
31:21here for example we’ve got these Browns these these matte Browns look eleven point six fifteen point four twenty
31:28three point three they’re all the same parameters except one was done with the 20 minute 20 micron spacing one was done
31:35with a 50 micron spacing am almost done with a 10 micron spacing okay so that’s
31:41the reason why we’ve got greater times as I close up the lines it takes more time to scan the same area but there is
31:50no difference in quality so why would I go for 23.3 when I can have 11.6 now
31:57black is a particularly difficult color you can’t get a decent black without
32:02spending time on it and yeah okay so this took 34 seconds to produce that
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
32:09black. Black as a color you might want to steer clear off unless you’re absolutely desperate. So it would appear that golds
32:16and Silver’s and whites are the colors that you can go for. So let’s just take a quick look at this caliper
32:22here we’ve got these pinks and rubbish colors down here which lovely but
32:28they’re not they’re too fragile they’re not production colors and they also take one minute thirty nine three minutes six
32:36minutes I mean even these lovely Pink’s down here the one lesson that I have
32:42learned is look we’ve got two blues that are exactly the same and we’ve got two
32:47Pink’s at the bottom here that are exactly the same the difference is time. It would appear that I don’t need double
32:55scanning if I produce a rough surface in the first pass but I can’t get those
33:00colors faster that’s part of what I’ve been trying to do find a color and then
33:06see how far I can push it in terms of speed and still retain the color some
33:12colors you just can’t get the speed out of and that demotes them to possibly a
33:19flea grade where the color is good it’s got a wide tolerance of light capability
33:24but it ain’t very quick that’s the difference between an A grade and a B
33:30grade color mainly the amount of time it takes to produce them. So we’re gonna close the session with a few minutes of
33:35looking at some of the colors under the microscope now this is the salmon color
33:40that we talked about a mixture of pink and yellow and the pink predominates but
33:46this you know this there’s probably 50% yellow in that picture with a hint of
33:51pale lion green but you don’t see any of that with the naked eye you only see the
33:58pink. The other thing that I want to point out here are these striations lines that you see on here you can see through the film to the material that’s
Fiber Laser Marking Machine: A palette of Sparkly Colours (Cont…)
34:05underneath now there is a bit of hint on there of lines going up and down that’s
34:11the scan lines because this is the second pass. So it’s got the lines are going vertically now amazing in that
34:18just one pass different then all of a sudden the surface texture has still remained flat but the color has changed
34:25because we’ve changed the thickness of the film that’s on the surface now we
34:30take a look at those two golds the first one was the slightly of the two golds the Mexicans know all
34:38those colors look at them they’re superb which had a scanning interval of a hundred microns so what we’ve got here
34:46is a beam width of 60 microns and another beam width of 60 microns so
34:53we’ve got 40 microns between which have not been touched well not entirely true
34:59because you’re gonna ask the question what are these marks across here
35:04these regular marks well that’s the first scan that went across but this is a crosshatch scan so if we look here
35:12carefully you might just be able to pick up the beam shape the striations for the
35:19beam shape going across there on this channel and you could certainly pick up the beam striations in this channel here
35:26look at the rainbow of colors on there and yet that comes out as just a sparkly
35:32gold now let’s compare that to that to the lighter gold this has only got 60
35:37microns spacing between the lines as opposed to 100 microns. Which is why it took a little bit longer and look here
35:44we can see the 60 microns here with virtual joints between the lines but
35:50again we’ve got our marks that run across here look that little mark there in that little mark there so there’s the
35:5660 microns for the first pass going across there so as you can clearly see there is not as much rate in this
36:03picture it is more yellow and some blues and greens and that accounts for maybe
36:10why visibly this looks a slightly lighter gold this is 400 times
36:16magnification and it’s not what your eye sees that’s 50 times magnification and
36:21even that you wouldn’t say is going to give you a nice bright gold. Now that’s really pretty isn’t it but that that’s
36:29the one that gives you the redder gold now this brings us nicely back to the
36:35 situation that I described very early on as to about how we came across these patterns. This could quite easily be the
36:43regular pattern that we saw on butterfly wings now it’s the regularity of that pattern
36:48that’s probably allowing us to see the dispersion of light in many different directions and it gives that color its
36:55durability in one of the earlier videos we’ve seen black before and sure enough
37:01is that black that should be a dark gold
37:07according to what we see here we’ve got our 10 micron lines but every time we
37:14move across 10 microns what we’re doing we’re leaving a debris trail that’s down the side of the burn so what we’ve got
37:22here is a series of plowed field effect type buildups behind the beam as it
37:29moves across finally we’ll take a quick look at my B grade pinks and blues as
37:36you can see we move in and out of focus to all sorts of things there it’s a distorted surface is broken up
37:44surface so that’s why it’s glittery we’ve got some pink in there but we’ve
37:50got a lot of dark green and yellow so the interesting question is why is this
37:56coming out such a nice bright glittery pink okay now this is our durable blue
38:02that takes too long to produce so it’s a bit grade we’ve got a scale on here
38:09which is naught to 10 microns now we’ve got a 4 micron pitch which we
38:17can’t see any sign of to be honest on this screen at all yeah we’ve got some horizontal lines but we certainly can’t
38:24see the 4 micron pitch so what happens when we put the second scan on top of it so we’ve got some predominating vertical
38:31lines on here there so there’s still no indication of our four or five micron pitch across this way and yeah it is
38:39still blue we’ve got a little bit more dark color in it this time bit more green but I think we’re the only shadow
38:47of a doubt you would believe that to be a blue and it happens to come out blue so you don’t always see what you get on
38:54this screen so I think with that pretty picture on the screen we will this session off and say thank you very
39:00much for your time and I’ll catch up with you in the next session
Skip to content 
