The first step was finding the right design to work with. The assignment suggested using The Noun Project, which was incredibly helpful. After searching through different options, I found the perfect icon that captured the essence of Lovett Hall and the Sally Port with its distinctive arches and architectural features. It was exactly what I was looking for – simple enough to be recognizable but with enough detail to make an interesting CNC project.
After downloading the SVG file from The Noun Project, I imported it into Carbide Create to prepare it for machining. As you can see in Image 1, I had the design loaded into the software and was beginning to set up my toolpaths. The grid in the background helped me visualize how the design would be positioned on my wood block. For my project, I planned to have the archway and windows at a deeper cut than the building outline to create depth and visual interest.
When I first imported my SVG into Carbide Create, I quickly realized that not all the details would work perfectly for pocket cuts. The original design had some extremely fine lines, particularly in the archway details and between the columns, that were simply too small for the 1/8″ end mill I was planning to use.
Looking back, you can actually see where I had to make some modifications to the original design. I needed to widen certain gaps and simplify some of the finer details to ensure that the tool could actually cut the pockets properly.
So my first attempt at this CNC project was… let’s just say less than perfect! As you can see in this newest image, I ended up with what I’d call a “Texas-shaped disaster” instead of my beautiful Rice University building. The Nomad 3 dutifully followed my instructions, but clearly my instructions needed some work.
What went wrong? I think I got a bit overconfident with my first toolpath setup. I had initially tried to use the Texas shape as a practice run before moving on to the more complex Rice building icon. Looking at this result, you can see the CNC machine did technically cut the outline correctly, but the internal pocket cut is a mess. The depths aren’t consistent, and some areas barely got cut at all while others went too deep.
I was determined to get the icon right. Image 1 shows the Nomad 3 CNC machine in action during my second attempt.
You can see how the machine is set up with my wood piece securely clamped to the bed using the red clamping fixture on the right. One thing I learned from my first failed attempt was the absolute importance of securing the workpiece properly.
Image 2 shows the final results – I made two identical Rice building icons as required by the assignment. I’m actually pretty proud of how they turned out, especially after the disappointment of my first attempt. You can clearly see the multiple depth levels that were part of the intermediate difficulty requirements – the archways and windows are cut deeper than the surrounding details.
The texture on the edges where the contour cut happened is pretty rough and fibrous – that’s because the end mill creates those little wood fibers as it cuts through. I learned that post-processing is super important to get a clean final product.
After successfully machining my two Rice building icons, it was time for the all-important post-processing stage. This photo shows my pieces after applying the first coat of stain – what a difference it makes!
I started with a thorough sanding session. Those rough, fibrous edges you can see in previous photos needed a lot of attention. I used a progressive approach: starting with 120-grit sandpaper to knock down the major roughness, then moving to 220-grit for smoothing, and finally a quick pass with 320-grit for a really nice finish. The trickiest parts were definitely the inside corners of the archways where the end mill left some small tear-out. I ended up using a small folded piece of sandpaper to get into those tight spaces.
For the stain, I went with a honey oak shade that I thought would enhance the architectural details without making it too dark. You can see how the stain really brings out the different depth levels of the CNC cuts – the deeper areas absorb more stain and appear darker, which creates this natural highlighting effect that emphasizes the building features.
Now it was time to colour and add resin. First, I mixed the two-part epoxy in small batches using a 1:1 ratio. Mixing thoroughly but slowly was crucial to avoid introducing air bubbles. For the blue windows, I added a few drops of blue pigment, stirring until I got that perfect deep blue that would represent the windows.
Using a small plastic cup with a pointed tip, I carefully poured the blue epoxy into the recessed window areas. I learned quickly that patience is key here—pour too fast and you’ll overflow the boundaries. The blue sections needed about 3 hours to partially set before I could move on.
For the green sections surrounding the building outlines, I mixed a fresh batch of epoxy with green pigment. This was the trickiest part as I needed to pour around the partially set blue sections without creating any bleeding between colors. A few toothpicks helped guide the epoxy exactly where I wanted it.
The whole project required 24 hours of curing time, followed by light sanding to remove any excess epoxy that had seeped out of the boundaries.
Cost breakdown:
Wood blanks: $12
CNC machine time: $37.50
Epoxy and pigments: $9.25
Finishing supplies: $10
My time (4 hours): $80
Total per piece: $74.38
What surprised me most was how the different depths created such interesting shadow effects with the epoxy. The piece with deeper cuts (about 1/8″) showcased more dramatic color variations than the shallower one. Next time, I might try experimenting with transparent versus opaque pigments to create even more visual interest.
These finished pieces capture the iconic Rice architecture while transforming functional school emblems into modern desk art. The combination of precision machining and hand-finished epoxy work represents exactly what I love about modern maker culture—blending digital fabrication with traditional craftsmanship.
