Step #1- Artwork Development

Making your own photo resist is not only easy, but very profitable. A quality photomask begins with quality artwork. Whether creating the artwork by hand or designing by computer, double check these three items: Is the artwork clean? No halftone or gray areas, just black and white. and will the film tool work? (blacks must be opaque).

Quality/Type of Film Tool:

With the exception of artwork, the film tool is the most important factor in producing quality photomasks. The best option is to use a film positive. Film positives have the emulsion (black areas) fused into a clear film allowing for superior detail, opacity, and re-use. Film positives are not always obtainable and cost 

Diagram #1

more than a U.V. Vellum, Laser Film™ or our InkJet Film substitute. When producing extremely fine line, high resolution designs, use Laser Film™ rather than Vellum. Laser Film™ performs almost as well as a film positive for about a fourth of the cost. Like Vellum, use it with a laser printer or copier (Diagram #1). In either case, make sure your film tool is opaque enough so as not to allow any light through the black areas of the design. If light can pass through the black areas of the design, difficulties in wash out will occur. To test, hold up to a light source and look to see if it is too transparent (Diagram #2).

Diagram #2

Helpful Hints for Artwork Preparation:
When Should I do Artwork?

The first thing to remember about artwork in regard to photo resist is BLACK = BLAST. Artwork must be "camera-ready" black and white, meaning no halftones, grays, or color. For example, making a black and white copy of color artwork does not mean it becomes camera ready. All blacks must be solid black, and all whites solid white. However, a copy is an excellent tool to indicate what color areas need to be converted to solid black and white areas within the design:

How Should I do Artwork?

If you find that artwork requires clean up, you may do this manually or by using a computer. A few minutes of manual touch up could save you hours of work in a computer graphics program. In either case, use a copier to make a 200% enlargement of the design. When using a computer, scan the enlargement for further touch up. Cleaning up the artwork at the enlarged size will give the design better resolution and clarity when reduced to the original size (a 50% reduction). If redrawing by hand, place a drawing Mylar or tracing vellum over the enlargement to convert into camera ready black and white artwork. Using a good graphics pen with India ink will produce the best results, since ball point pens and pencils do not produce opaque blacks and cause lines to break up.
 

Step #2- Exposing SR2000™ & SR3000™

Once the artwork is on a film tool, the art can be exposed to either photo resist film. (see label on package for exposure times). First, place the film glossy side down onto your exposure unit. (Letralite™ users lay the black blanket flat Diagram #3).

Diagram #3

Diagram #4

Diagram #5

Helpful Hints for Exposing:

When exposing photo resist film, it is important to remember that a successful exposure is determined by three factors: material thickness (mil), detail of image, and quality or type of film tool (see above).

Material Thickness:

In most cases, exposure times are determined by how much material needs to be cured. However, with Rayzist’s "SR" technology, exposure times are the same for all mils. Normal fluorescent room lighting has very little to no effect on our films. An intense U.V. light source is required for proper exposures. The effects of your exposure times will be revealed in washout.

Diagram #6

Diagram #7

Detail of Image:

If you find that the image does not look sharp, make sure there is a tight contact between the photo resist and your film tool. This will keep light from bleeding under the black areas of your film tool. Another factor when considering exposure times is the detail of your imagery. Fine, high resolution designs can be over exposed quickly. In some cases, decreasing the exposure time may help in the processing of thinner lines.
 

Diagram #8

Step #3- Developing

Also known as “washing out”, this process will develop the image previously exposed. Use our hand held spray assembly (Diagram #8) or, for production users, one of Rayzist's patented automatic washout systems (Diagram #9). The 1428 model will allow you to process up to two 14" x 10" sheets while the 1650 model will allow up to four 14" x 10" sheets per cycle. The automatic washout systems use pressurized water to wash

Diagram #9

Diagram #10

Helpful Hints for Developing:

When developing SR2000™ or SR3000™ photo resist films, the pressure of the water is important. Since photo resist film is a water soluble product, the longer the film remains in water, the softer it will become. For this reason, pressurized warm water will develop the film faster, resulting in sharper and more defined detail than cold, unpressurized water. When washing by hand, order our washout board (Diagram #8), or use a white clipboard. The contrast will make it easier to see when the film is developed.
 

Step #4- Drying Process

After processing the film, you must allow it to dry. This cures the photomask making it ready for sandblasting. Use our Premier® Dryer to dry several sheets at a time (Diagram #11) and proceed to step #5. If using SR3000™ Self-Stick Resist  proceed to step #6.

Diagram #11

Diagram #12

If using SR2000™, blot the excess water from the film. We recommend air drying the film at room temperature for about 30-60 minutes (Diagram #12). NOTICE! DO NOT blot SR3000™. Simply shake the film or use a hair dryer to remove excess water.

Step #5- Adhesive Application (skip to Step #6 if using SR3000™)

Once the photo resist film is dry, apply RZ-2™ Adhesive by 1) Using a foam brush to spread a little more than a nickel size amount evenly for each 4”x4” area . (Diagram #13 & #14).

2) For best results, use our RZ-3™ Adhesive with a spray system (or similar type of air gun) to spray a light “orange peel” coat directly on to the dried SR2000™. The sheet should appear to have a semigloss sheen when applied correctly. In either case, adhesive must dry (2-3 minutes) turning from a milky white appearance to clear before the photomask may be applied. When spray gluing, use Rayzist® Cover Paper to protect the photomasks prior to application. If the adhesive gets too thick it may begin to act as resist in the open areas and not blast away properly (siphon system and pen size blasters often experience this difficulty). Increasing the blasting pressure will help to remove any adhesive that seems stubborn.

Diagram #13

Diagram #14

Step #6- Application of the Photomask

To transfer the photomask on to the item about to be sandcarved, firmly rub it down with a plastic burnisher (Diagram #15) and peel off the clear carrier sheet. By flicking a corner of the mask, the carrier is loosened, making removal easy. TIP: When using SR3000™ use a particularly firm burnish over small lettering or detail. Follow with the use of our Wire Wheel Brush (aka a "membrane popper") to ensure the best results. Finish the job by taping off the unprotected areas of your piece with blasting tape (Diagram #16).

Diagram #15

Diagram #16

Step #7- Sandcarving

Use 25-35 psi blasting pressure for most items, holding your nozzle about 4"-6" away. Carve until you have a smooth, even depth across the design areas of the photomask (Diagram #17). When multistage or deep carving, use at least 5 mil (6 mil available in SR2000™) to achieve up to Ľ" depth. 150 grit aluminum oxide works best for sandcarving a wide variety of materials. A pressure pot system gives you superior control and the best results. Standard sandblast nozzles are 3/32".

Diagram #17

Step #8- Clean Up

After sandcarving, the blasted items are ready for clean up. Removal of the photomask is easy, able to be peeled off by hand with or without water (Diagram #18). Since our photo resist films are water soluble, we recommend placing the carved items into a sink of warm water for production runs) and letting them soak

Diagram #18

for several minutes. Either way, the photomask will remove easily with out the need for special solvents or resist removers. Be careful not to scratch the piece when handling it. Dry abrasive residue can cause small scratches in the surface of blasted items.

Trouble Shooting Tips:

Not Washing Out Properly

1. If using a laser printer or copy machine make sure it is printing a dark enough "black" (opaque black) onto the U.V. Vellum or Laser Film. It must be opaque enough to properly shield the light when exposing. Use Laser Film (not vellum) on 3 mil when the detail (as in text) is extremely thin.

2. Do not process photo resist film under direct or indirect sunlight. This will rapidly expose the film due to the high U.V. content of sunlight. Keep all film in the protective bag when not in use.

3. Do not over expose! Over exposing the photo resist film hardens it too much causing a difficult and stubborn wash out.

Photomask Coming off of the Item While Carving

1. Clean the glass with a standard glass cleaner prior to applying the photomask. Manufacturers often leave oily residue that the glue can not adhere to.

2. Do not carve any deeper than the width of a line.

3. When blasting on rock, use extra glue. It may also be helpful to "seal" porous rocks with a clear coat product prior to adhesive application.

4. Use a hard piece of plastic (such as the one shown in Diagram #15) to rub down the photomask firmly.

5. Try brushing a thin layer of adhesive onto the photomask if necessary.

6. Use a pressure pot, not a siphon blaster.

Equipment Facts:

1. Rayzist® has been manufacturing sandcarving and processing systems specifically for the sandcarving industry for over 16 years. Constructed with superior components, we insure a quality product with out middle man inconveniences. Free technical support, excellent customer service, and a tailored comfort design, are standard benefits.

2. Blasting hoses 2" thick are not needed: you are not blasting car parts. A smaller hose is easier to handle and is all that is required. With proper care (see owners manual) it will last just as long. Industrial blasting cabinets provide gloves too heavy duty to handle delicate glass and crystal pieces effectively. If needed, use latex gloves for protection.

3. Always sift abrasive prior to refilling the pressure pot. This eliminates any particles of masking or debris from clogging the blast hose or nozzle. Rayzist® manufactures a Sifting Ring for this purpose.

4. Choose a pressure pot system over a siphon system. Siphon systems require a much higher blasting pressure to yield the same results as pressure pot systems and do not allow for enough control over the abrasive and air flow. Pressure pots are able to carve faster and at lower pressures resulting in less wear on the compressor.

Abrasive Facts:

1. Aluminum Oxide (150 grit) costs about ˝ the price of Silicon Carbide.

2. Aluminum Oxide (150 grit) cuts smoother, enabling higher blasting pressures (40 psi +) without "chewing" the photomask.

3. Silicon Carbide is less dusty, providing a cleaner environment and can last longer than Aluminum Oxide.

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SR2000™ Photo Resist
"The Original Blue"
Description/Application:

User friendly SR2000™ photo resist film satisfies all levels of production with extremely fast exposure times, quick wash out, easy application, superior durability, finer detail, unmatched depth and fast clean up... without the need for special yellow lighting, resist removers, or any other added expenses.

Film Storage and Handling:

SR2000™ photo resist film is supplied in special light proof packaging. Sheets and rolls should not be exposed when not in use. Store at room temperature up to 12 months from ship date.

Room Lighting:

SR2000™ photo resist film can be handled in white fluorescent lighting for approximately ten minutes without effecting the performance of the film. A safe practice is to cover film that may be out for extended periods prior to exposure and washout. Avoid any room or area that has U.V. light such as rooms with open windows or doors. Sun light will expose and ruin the film in a matter of seconds. For larger volume production, we recommend installing yellow fluorescent bulbs to further increase the out time of the film.


SR3000™ Self-Stick Resist
Ultra High Resolution Film
Description/Application:

A revolutionary concept in self-stick resist films, SR3000™ is NOT a "self-adhesive" product. That means there is NO adhesive to wash against during development (eliminating loss of tack due to over-washing), NO stubborn residue to clean up and NO sticky sheets that cling together when drying.

SR3000™ is a repositionable self-stick film that will cling to polished surfaces such as glass, granite, marble, ceramic and the like. 3 mil is designed specifically for ultra-fine, high resolution designs perfect for half-tone imaging. Carvers desiring to achieve a deeper etch or multi-stage carving will be thrilled with the results of  5 mil.

SR3000™ photo resist film satisfies all needs for a self-stick film without the problems "self-adhesive" brands bring. SR3000™ renders unmatched detail for half-tone imaging and ultra high resolution images. SR3000™ saves time and money by enabling you to produce a superior product with less hassle.

Exposure Guide: (consult package label for further information)