Awards & Engraving

February '19

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ETCH MASTERS by Ruth Dobbins 52 • A&E FEBRUARY 2019 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, or by phone at 505-473-9203. W ith this article, I am hoping to address a few reader requests submitted to A&E. As I have mentioned in the past, it is often difficult for those of us who have been sandcarving for a while to remember what it is like for novices to make good decisions when it comes to product choices as well as how to most effectively operate the equipment. Setting Choices for Sandcarving Various Substrates I will cover several different products/ substrates you may be working on, and will discuss stencil material choices and equipment settings; both are essential to come away with a successful end product. The most common substrates we encounter these days are items made from glass, acrylic, stone, ceramic, and metal. GLASS Here we make the distinc- tion between glassware (also referred to as "hollowware") and the more solid pieces of glass ranging from award and trophy pieces to larger pieces with more artistic imagery. The decision as to which stencil material to use for this category mainly has to do with the equipment you have available in your shop. Most of us use a pho- toresist, which we produce ourselves in-house with min- imum equipment needed. Some of you own lasers and might use a laser tape to create your images before you blast the image. There are several types of photore- sist on the market, and you have to choose which one works best for you. All of these photoresists come in different thicknesses, which has a bearing on how deep you want to blast; the deeper you want to go, the thicker the material should be to withstand the prolonged blasting. Surface etching on small, straight shot glasses created with photoresist. ALL IMAGES COURTESY RUTH DOBBINS

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