This page describes a laser cutting setting published for Acrylique noir / coulé at 2 mm, tested on a OMTech Polar 350 fitted with a CO2 50W source (10,600 nm CO2, 50 W). It states the exact machine, source, material, thickness and operation of the test; power, speed and number of passes are shown with a Premium pass.
Why those four facts matter: a cutting setting that works on Acrylique noir / coulé at 2 mm does not transfer to another thickness, nor to another source. A 10,600 nm CO2 rated 50 W does not deposit the same energy as a stronger module, and the speed has to be adjusted accordingly. Copying a number without checking those four points is the first cause of a ruined part.
Published by LaserSettings (estimation). No other workshop has confirmed it yet: treat it as a starting point, and confirm it from your account if you reproduce it.
No photo comes with this setting yet. If you reproduce it, publish yours from your account: a picture of the result is worth more than a line of numbers.
Recommended routine before running the part: clean the lens, redo the focus, engrave a small test grid on an offcut of the same Acrylique noir / coulé, then adjust the speed rather than the power. Work with fume extraction and air assist, wear glasses rated for 10,600 nm CO2, and never leave the machine unattended.
OMTech offers a broad range of enclosed CO2 machines, fibre markers and galvo models, with many options (honeycomb bed, rotary, chiller). On CO2 units, mirror alignment quality on delivery varies: a setting that gives nothing often starts as an alignment problem, not a power one.
Unlike clear acrylic, black or coloured acrylic absorbs blue light: it therefore cuts with a diode as well as a CO2. It is the most versatile plastic in the workshop, and the one that gives the most legible engraving.
For CO2 cutting the rule matches clear acrylic: one slow high-power pass for a clean edge. On a diode you often need two or three passes on 3 mm, and the edge stays matt — that is normal, a diode does not melt the material the same way.
When engraving, black acrylic gives instant contrast: the engraved area appears milky white on glossy black. Stay at low power: the goal is to frost the surface, not to carve it. Too much energy melts the edges and the artwork loses its crispness.
Cast acrylic whitens strongly, extruded much less: for an engraved plate meant to be read, choose cast.
Acrylic melts into burning drops and can ignite on a slow cut: supervision is mandatory and extraction must run. It does not release chlorine, unlike PVC — but never confuse the two: an unlabelled black sheet could be either.
Leave the protective film on while cutting. After engraving a dry microfibre cloth is enough: alcohol-based cleaners attack the surface and leave a permanent white haze.
To lift an engraving, a little acrylic paint worked into the recesses and wiped flat looks very clean on glossy black.