Awards & Engraving

August '18

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88 a-e-mag.com • A&E THE GUIDE 2018 With over 40 years in the glass busi- ness, Ruth Dobbins offers experi- ence in all glass-etching techniques as well as in fused and cast glass. Ruth holds a Master's Degree in Art and has been a partner in an art glass wholesale supply and studio company in Europe, which also placed great emphasis on a training program, before joining forces with Norm. You can reach Ruth by email at ruth@etchmaster.com, or by phone at 505-473-9203. How to Start Etching Glass Awards & Gifts ETCH MASTERS by Ruth Dobbins Here in New Mexico, when we go out to eat, a common question a server asks is: red or green? This question refers to our ever- present chili that smothers most dishes. When it comes to photoresist, there is a similar question concerning color, speci- fying which type of photoresist you might use. But let's start at the beginning and clarify a couple of misconceptions when talking about this product. WHAT IS PHOTORESIST? What exactly is photoresist? That's a valid question we get asked frequently. When using the name "photoresist," everyone naturally thinks of photographs. Even though it is possible to blast pho- tographic images, photoresist most com- monly refers to the process of a stencil material that is light sensitive and can be developed much like you would in the process of developing a photo in a dark room. So, the term refers more to the pro- cessing of the material rather than the type of image created. Most images created with this method are what we call black-and-white images. The main reason why you would select photoresist over any other type of resist material is the fact that it lets you produce and re-produce accurate images with fine detail without the need to cut any design and also without the need to peel/weed out any portions for blasting purposes. Most of us regard photoresist material as the Cadillac of all stencil materials. It is also the choice for producing multiple stencils with exact accuracy and in a small window I n the past few articles, I covered all the necessary equipment components that enable you to get started with your glass sandcarving business. I also discussed how much space the equipment may take up, but that is not the whole necessary space. You will also require a couple of work benches or tables to prepare the glass, attach the resist, and assemble the finished awards, access to water for clean-up of blasted products, as well as stencil processing, and a semi-dark room to process the next important material you need: photoresist. Part 5 Black-and-white artwork needed for washout photoresist. Each image is printed on a different material depending on the printer type used to create the original. ALL IMAGES COURTESY RUTH DOBBINS Stencils made from artwork using two different types of washout photoresist, as the color indicates.

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