Awards & Engraving

August '17

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56 • A&E AUGUST 2017 A side-by-side comparison of the detailed artwork: the original is above, while the image below depicts the adjusted artwork. ALL IMAGES COURTESY LIZ HAAS Technical Techniques: Sandcarving & Artwork Technical Techniques: Sandcarving & Artwork Recognition that is not readable is not recognition H ave you ever had that one design that didn't sandcarve well—it seemed that part of the design didn't show up in the etching? This is a case where the artwork needs to be adjusted or even modified for the best results. We identify this type of design as a difficult design and it requires some adjusting. There are a couple of other variables that play a role in producing the best etching for your artwork, such as print film and thickness of the photoresist film, but first, start with the artwork. After all, this is where the sandcarving process starts. DETERMINING DIFFICULTY How do you determine when artwork needs to be adjusted or modified? Examine the detail in the artwork. Are there thin lines that may not etch deep? Then view the depth required for the sandcarving job. If there are small or delicate fonts or thin lines, then this is considered a difficult design. Difficult artwork is a subject that customers call our Custom Mask department about, especially when depth is required. It is common practice for your customer to send in their artwork that has been used in a print process or seen in a print appli- cation. Oftentimes that artwork was not created to use as a sandcarved design. All fonts and detailed artwork will look great printed, but once the print is turned into a photomask, the sandcarved artwork may not match the printed proof. First, realize the printed version of the artwork is against white paper, which pro- vides contrast. All the detail is viewed sharp on a white background. Once the artwork is sandcarved on a transparent surface such as glass, some of the detail in the design may not be as clear because there is no contrast. By Liz Haas

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