Awards & Engraving

December '16

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A&E DECEMBER 2016 • a-e-mag.com 57 Sandcarving With over 35 years in the glass business, Ruth Dobbins offers experience in fused and cast glass, as well as in glass-etching techniques. Ruth holds a Master's Degree in Printmaking and Art History and has been a partner in a stained and fused glass wholesale supply company in Europe, which also placed great emphasis on a training program. For 20 years, she collaborated with her husband Norm Dobbins in commission work, writing books and creating videotapes on how-to techniques for glass etching. Norm & Ruth taught these techniques for 30 years in the U.S. and other countries. Ruth continues these venues by offering a complete training program at Aliento School in Santa Fe, New Mexico, and by teaching at various trade shows. One-on-one training and consulting services are also offered. You can reach Ruth by email at ruth@etchmaster.com, by phone at 505-473-9203. up with the center of this hole. With a drafting triangle, I established the inter- secting horizontal to the vertical and marked it as well. I was ready to apply the stencils. I began with the top strip, knowing how far up I could go with the text. Then I skipped the next strip in favor of using the middle one, which had a registration line on it matching the hori- zontal mark on the glass. With all of the strips, I had to be careful to attach the stencil in a couple of spots, then remove the cover sheet in order to be able to have the resist conform to the curve without getting it to fold over on itself or distort. As always, this is adren- alin-rush time. After these two strips were in place, I placed the strip in between the two by eyeballing its position. Now I could place the last part of the text to the bottom. A very slight distortion of the text could not be avoided since the straight stencil had to conform to both convex and concave areas at the same time, but I felt it was pretty close to straight. The next problem became apparent: the stencil material is purple in color which, on a dark red object, is hard to distinguish. Having cut the stencil in strips with very little gaps in between them, I now needed to tape up these small gaps. To get skinny strips of tape, I removed a length of masking tape from the roll and applied it to our cutting mat. I then took my stencil knife and cut narrow strips from the tape, which I then applied to the stencil on the glass. It was difficult to see if all the gaps were covered. I covered the back of the glass with cling wrap and taped all around the seam where the wrap and the stencil met. I was ready to blast. I blasted both objects with a 220 grit silicon carbide to achieve some depth since I needed to color-fill the text with gold paint. After blasting, I blew off the objects with air to remove abrasive dust and then spray painted the text with the stencil still in place. After the paint tacked up, I removed the stencil and cleaned the glass. On one object, I missed two spots while taping, but the other one is okay. As soon as I was done, I packed them up and sent them overnight back to Sam for inspection to see if the result matched his expectations. That's where the project is at this moment, which means I will continue this story some time later. ©Ruth L Dobbins 2016 GC Made in USA

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