October '20

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G R A P H I C S - P R O. C O M 2 0 2 0 O C T O B E R G R A P H I C S P R O 2 5 STAGING AREA Traditional hand-cut vinyl is currently used for stage carving. Hand cutting vi- nyl is time consuming compared to cre- ating the design in photoresist film. The artwork for a photoresist process must be set up as an outline. The thinner the out- line of the design, the better the carving shape. On the eagle design, each section has an outline. This outline allows for the photomask to peel up from the rest of the artwork. Once the section is exposed, you can focus on carving and shaping the glass. A picking tool is designed to peel up a section of photomask. Approach the artwork and view which sections need to have a deeper etch and which sections need to be a lighter etch. Carve the sections that will be deeper first. The focus of the nozzle movement will target only the exposed area. It is important to constantly check how your shape in developing by turning the glass over to view from the front. Stage carving is different than a tradi- tional sandcarved design on glass. In stan- dard sandcarving, the nozzle is held at a 90-degree angle with slow passes over the substrate, etching until the desired depth is reached. In this case, we are stage carving by numbers. The open area is section 1 and then you proceed in sequence until you reach section 17 (Figures 2 and 3). Carve holding the nozzle at various dis- tances and angles to create a shape. This particular project was carved with a 3/32- inch nozzle and 150-grit silicon carbide. The blasting pressure was set at 20 PSI. The photoresist film used was SR2000 6 mil, but 5 mil (or a similar product from a different brand) could be used as well. The first carve on the eagle is the mouth. To create the shape of the mouth, the nozzle is held at a close distance—ap- proximately 1 inch from photomask. In a continual flow, move the nozzle over the

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