Start Here October '20

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62 Sandcarving lifted off and press it down one last time. When starting to blast, your sand and air flow need to regulate to a steady stream. Aim your nozzle away from your piece. Once the stream has stabilized, you are ready to begin blasting. I like to start further back and move my nozzle into my piece; generally, I end up roughly four inches away from my piece when blasting. Your design, air pressure, and nozzle determine the exact distance needed. Too close and you can dig ruts into your design; too far and you will not efficiently blast the glass and have higher risks for a blow off. When blasting, it is crucial for your nozzle to remain 90 degrees to the sur- face of your piece. If you blast at an angle, your blast will show it, and you will have issues with your resist lifting off and your piece being ruined. The other critical step is to make sure you have small over- lapping circles. This is ensures you have a smooth, level sandblasted surface. Note that if you are carving into glass, you use a different approach to show the depth and shapes. When you first start to blast the glass, you will see the resist membrane blow off and the glass will turn a frosted white. The more you blast, the deeper the engraving becomes; I judge my depth based on the amount of shadow that is created at the edge of the engraving. Step Four: Once your image is fully blasted, you are ready for cleanup. I like to rinse off any extra sand with water, then using warm water, allow the resist and tape to become pliable until they simply slide off. Use caution to not scrub the glass. If there is sand on the resist or tape, it can scratch your glass. Rinse before, during, and after while cleaning the tape and resist off the glass. I like to use a lint-free microfiber cloth and denatured alcohol for the final cleaning process. This removes any left- over resist and tape residue, as well as fingerprints, making the glass ready for your customer. COMMON ISSUES AND CAUSES Design Won't Washout – Poor art- work, transparency, or your resist has been exposed to UV (watch out for sunlight.). Centers of Letters Came off While Blasting – Air bubbles in the mask cause resist to not adhere well. Resist Lifted off Glass Around Design – Blasting at an angle allowed your sand and air to lift the resist. A lot of White Dots Around Engraving – Too high of air pressure or too coarse of blasting media; the sand was able to make tiny pierces in the resist resulting in a salt-and-pepper look around the engraved image Ruts and Uneven Engraving Surface – Blasting too close or going over the same spot too much; move your nozzle back and overlap your areas more evenly. CASE STUDY: EXPANDING INTO THE AWARDS MARKET The knowledge and skills that I learned from sandcarving decorative glass art has allowed me to make the transition into the awards market. Some of the most unique and creative awards that Glassmith2 has produced have uti- lized sandcarving. One of the first bulk award orders that Glassmith2 received was for the Wild on Windsor Triathlon. For these awards, I wanted to pro- duce something completely unique and memorable using the equipment that I had at the time, which was primarily my Sandcarving allows you to produce something completely unique. (Image courtesy Ruth Dobbins) S T A R T H E R E 2 0 2 0

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