Awards & Engraving

December '16

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56 a-e-mag.com • A&E DECEMBER 2016 days later (Wednesday). I had received the text by email before and was wondering how the rather long formula could be applied to the shape. After I had received the two objects, that question loomed even larger than before, seeing how steep the indentation was. PREPARING THE PROTOTYPE Before creating the film from which the photoresist would be made, I had to take the measurements of the shapes. One has to keep in mind that no matter how exact you try to be when blowing a glass object, there will always be slight variations from shape to shape. Once the decision was made on the average size of either piece, we created the film and layout. I can't say what the formula means; they are just a bunch of letters and symbols to me and I am glad that the scientists know what it is all about. My not knowing makes it more imperative than ever that the client sign off on the layout since we would not know if we made a mistake or not. Looking at the extreme indentation, I quickly decided on the photoresist film I would use for this project: UltraPro purple 3 mils. This resist is particularly soft and sticky, offering the best chance of making it conform to the extreme curvature. After making the stencils, it was quite clear that there was no way it could be applied to the glass in one piece. Therefore, I cut the for- mula into four separate strips, after having marked the horizontal and vertical center of the stencils. In order to be able to register the strips and apply them in the correct position, I needed to mark the centers on the glass as well. But how to do that? Using a straight ruler, I could attempt to make a mark as far down as the middle, but there would be no guarantee that I could hold the marker straight. As I was musing over the problem, I remembered that I had a flexible ruler somewhere in my studio. I set out to find it and was successful after spending not too much time on the lookout. I marked the center of the circle and then bent the ruler into the depression and back up over the rim of the shape. I also had to watch where to mark the vertical as there was a hole drilled into the shape that was to serve as the bottom of the shape. A metal rod would be inserted into the hole to attach the glass object to a stone base. The vertical needed to be lined ETCH MASTERS Applying the strips to the glass. All strips are applied, the bottom is covered with cling wrap, and masking tape is covering all gaps. One object blasted with 220 grit and then cleaned off by blowing compressed air across the surface. With the stencil still in place, the glass pieces are spray-painted with gold paint. The glass blood cells after removing the stencils and cleaning the objects. The mounting hole on the bottom of the object.

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