I made these for the Australian Warhammer 40K Masters tournament, hosted by Good Games in Canberra: http://www.wargamerau.com/forum/index.php?showtopic=85153&pid=1156717&mode=threaded&show=&st=&#entry1156717The construction process may be of use and interest to Thingiverse members so I'll share it here.The trophies are made from multiple thicknesses held together without glue, by 3mm cut "rods" through "gripping holes", bordered with "finger clamps" to keep the rods in place.The process is as follows (bit of a long read but the underlying principle is easy):Vectorize the art.2a. Silver trophy plate, engraved with the descriptive text (at the client's request I cut a rectangular section out where the name goes and supplied him with the names on plates cut to fit; he applied the names of winner, runner-up and best sportsman to the appropriate trophies himself).2b through 2c. 3mm acrylic rectangles for the base. Stack as many of these as are required to make a stable block to support the piece upright. In this case there are three of them, and it may still be just a bit narrow.2d. Silver trophy plate, engraved with the art of the dragon. Holes are left for the eyes and the nostrils.2e. 3mm acrylic outline of the dragon's body. Holes with tabs are cut for the eyes and nostrils; these are cut separately from 3mm orange acrylic and inserted. The trophy plate at 2d covers the tabs and holds the eyes and nostrils in place.2f. Same as 2e, with second layer for eyes (acrylic mirror) and nostrils (red acrylic). This layer's outline is extended via a rectangular stem to the base as well.2g. 3mm acrylic outline of the dragon's body, stem and base. A hole with tabs is cut for the outer layer of the flame, which is separately cut from orange acrylic and inserted.2h (centre). 3mm acrylic outline of the dragon's body, stem and base. A hole with tabs is cut for the centre layer of the flame, which is separately cut from red acrylic and inserted.2i. Reflection of 2g.2j. Reflection of 2f. Note that the facing direction of the acrylic mirror eye is reversed.2k. Reflection of 2e.2l. Reflection of 2d.2m through 2o. 3mm acrylic rectangles for the base. Note that if you centre the rods through these properly you can make them up identically to 2b; I didn't do this and had a bit of trouble with it, as CorelDraw was centring the holes across the entire piece, not just the base piece. Create a separate rectangle over the base rectangle, centre with that, then delete the sizing rectangle.2p. Silver trophy plate for the back of the base. My logo's on this, not shown in the photo.Having worked the plan out (it's a lot less complex than it appears from the above exhaustive list), for each layer, create a new CorelDraw page, cut and paste the outlines and the relevant parts of the piece. Rename each layer with its material type, eg "3mm clear", "silver plate".Layers past the middle do not actually need to be mirror-flipped. Only the outermost layer of silver trophy plate on the dragon's body, and the mirror insert for its left eye, actually needed to be mirror-flipped (This is a bit of a mind-bender!) You may want to mirror-flip the inserts, especially the orange bits for eye and nostril, if you get a better-quality finish on one side of your acrylic. (As an aside, one of the advantages of this process is that you don't need to worry about fingerprints, or much about melted acrylic getting deposited on the surface of layers; it's all stuck together and covered with trophy plate. There's about five square centimetres of the thing that is visibly bare acrylic.)Create your rectangular support rods. These will need to run through all acrylic layers, and their ends will be covered by the trophy plate. They therefore need to be 3mm x (number of layers) long, and 3mm wide. Obviously, adjust these dimensions if you're using 1/8" acrylic or indeed any other thickness of acrylic. As some of the parts of the piece have different numbers of layers (eg the base), the rods in those parts will need to be longer or shorter accordingly. It doesn't really matter which layer you put your rods on but I found that it helps a bit to make them all on the same layer, but to leave a decent gap between each and between them and other cut lines, to keep any acrylic bending from heat to an absolute minimum.6a. A gripping hole has the following structure, like an hourglass: |-[]-| That's a line about 1mm to the side of the hole that runs the length of the hole, a tiny line in the middle to join the previous line to the hole, the hole itself which is just a teensy bit smaller than it should be to let the rod through, another joining line, and another side line. This has the effect of making very slightly flexible "fingers" which will tightly grip the rods. Ideally you will need to exert some pressure to get the rod into the hole; it may even break with a crunch as you do so. This is fine; the broken bits jam the hole, holding the rod in. Ideally it should not come out ever again.6b. I can't stress this enough: master this first. Make up practice gripping holes and rods from offcut acrylic. While the net effect of gripping holes is to give much wider tolerance for interlocking acrylic pieces, the exact dimensions of them will vary depending on the kerf of the laser, the thickness of the acrylic (which does vary enough from sheet to sheet to make a difference), how exactly focussed your laser is, etc. You may find it best to try out a few different sizes at once, eg make up holes between 2.8mm and 3.2mm with 0.05mm gradations, and try fitting a rod into each to discover which has the best fit.Group up the holes, then copy and paste them to all relevant layers. You need to visualize the pages as the third dimension of the piece. Holes must be in exactly the same place on each layer.Create extra separate pages for inserted materials (eg acrylic mirror, red acrylic, orange acrylic). Copy and paste the cut outlines for these, from the layers in which they are to be inserted. If you're running holes through inserted materials make sure you copy these too.Save a copy of the file created in this "3D exploded view", one layer per page, everything in its correct final position. This will make re-sizing infinitely easier, if you want to create first/second/third etc variations. Note that if you re-size the piece itself, you will need to keep the holes the same size and reposition them. This is most easily done by grouping up the holes in step 7, then when you need to resize, delete all but one from all layers, resize the piece, then reposition the holes from scratch.Group layers, then cut and paste and nest them such that the minimum amount of material is used. You may want to print them at the minimum size to the laser, and use your laser's software to organize them onto the actual sheets; on the other hand if there's a lot of gaps, such as between the dragon's wing and its tail, and your laser isn't capable of non-rectangular nesting, it may be more efficient to do it manually. Or you can use a nesting plugin or separate program. Or skip this step entirely and make a pile of offcut acrylic to use in other projects. It's your workshop. :DGood luck with it! :D This ended up being a lot more exhaustive than I'd first intended; really the whole thing evolves from the rod vs "gripping hole" dynamic. If you plan to do this it'd be best to select some art for yourself and follow the steps above. As noted at 6b making gripping holes with your individual acrylic sheet and laser may require some fiddling with the sizes, so just running my files off directly may not actually work for you. Email at [email protected] if you need any advice, but bear in mind that I thought this up a week ago and have spent, oh, maybe five hours total with it, so you haven't got far to go to get better at it than me. I'm definitely interested in seeing things you've made with it. :D