SR2000™& SR3000™ Product InstructionsMaking & Using Sandcarving Stencils

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TABLE OF CONTENTS:

Sections Page #Artwork Development 3-4Exposing 4-5Developing 6Application 7-8Troubleshooting 9Photoresist Info 10Magic Dark 11

Making & Using Sandcarving StencilsProduct Instructions

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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).

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 pos tive. Film positives have the emulsion (black areas) fused into a clear film allowing for superior detail, opacity, and reuse. Film positives are not always obtainable and cost 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).

Since vellums range in weight and density, we recommend our U.V. Vellum for optimum results. For ink jet printers use our InkJet Film only; U.V. Vellum or Laser Film™ will not work. Remember, BLACK=BLAST.

Making and Using Sandcarving Stencils SR2000™/SR3000™ Product Instructions

Diagram #1

Diagram #2

Helpful Hints for Artwork Preparation:

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:

Quality/Type of Film Tool:

COPY OF COLOR ART CAMERA READY ARTCOLOR ART

Example Only, Not for Blasting Purposes

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Secondly, remember that a photomask is an exact reproduction of the artwork. For example, a thin black line will not create a bolder line on the photomask. Similarly, white lines too thin may shift during the development process or blow off when blasting. Refer to the chart below for a guide to minimum line thickness and maximum depth on different mils of film. A good rule of thumb to remember is that you can not blast deeper than your artwork (or line) is wide.

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 (see Diagram #3).The blue “dull” side of the film should be facing up. Second, place the film tool toner, or “ink” side down on top of the dull side of the photo resist film and expose with a U.V. exposure unit (Diagrams #4 & #5) for the designated time.

When using a Letralite™ unit be advised timers may vary, double check for accuracy. (Letralite™ users should attach one edge of the clear cylinder to one edge of the black blanket and roll to the opposite side to secure before sliding over the light (Diagram #4). This causes the image to burn into the photo resist film. Work in normal room lighting for up to 10 minutes, no special dark room or yellow lighting required with either SR2000™ or SR3000™ films.

Diagram #3 Diagram #4 Diagram #5

MATERIAL GUIDEMaximum

Depth Possible1/16”

5/64”

1/8”

1/4”

Minimum LineThickness Required

1/128”

1/110”

1/76”

1/64”

Text Style

Script

Regular

Bold

Regular/ Bold

Depth/Design Type

Surface/Super Fine Detail

Stage Carve/Standard

Deep/ Bold

Moderate/Fine Detail

Mil

3

4

5

6

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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.

Under Exposed:

Loss of detail, artwork shifts, centers of letters appear smaller on the photomask than on the artwork, or the edges are soft and mushy, (Diagram #6); increase the time.

Over Exposed:

Long, stubborn washout, residue, imagery unclear; decrease the time. Usually stubborn washout occurs because light is passing through the blacks of the image; increase density of toner coverage. (Diagram #7).

Detail of Image:

If you find that the image does not look sharp, make sure there is a tight contact between the photoresist 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.

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.

Diagram #6

Diagram #7

Exposure Guide: (consult package label for further information)

SR3000™ Exposure TimesLetralite™ Exposer 3-5 mil 20 seconds26-1K/S 3-5 mil 6.0-10.0 units

SR2000™ Exposure TimesLetralite™ Exposer 3-6 mil 25 seconds26-1K/S 3-6 mil 6.0-10.0 units

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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 washout the film, taking about 45 seconds per cycle. In either case, secure the sheet of photoresist

dull side up with magnetic strips to the washout board or drum of the spin processor. Washing out with the hand sprayer will take 1½ - 2 minutes (3-5 mil) using warm water. Begin washing the film with even strokes starting at a distance of 1” and backing off to 4” as you see the film develop. Washout is complete when the imaged areas are free of film residue (Diagram #8). To assist drying, place the developed photomask dull side down onto a blotting towel to wipe excess water off the glossy backing (Diagram #10).

Diagram #8 Diagram #9 Diagram #10 Helpful Hints for Developing:

When developing SR2000™ or SR3000™ photo resist films, the pressure of the water is important. Since photoresist 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.

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.

NOTICE! Prolonged drying (over 10 minutes) of SR3000™ in the Premier Dryer will cause the film to feel less tacky. For best results return to room temperature before applying and use Cover Paper to protect the tacky surface of SR3000™ until ready to blast. 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.

Diagram #11

Diagram #12

Step #3- Developing

Step #4- Drying Process

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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 ¼" 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". Rayzist® manufactures the only fully automated recycling system for your convenience. If you are using a siphon system, the standard blasting pressure is 60-75 psi. Continue to make smooth, even strokes over the area you are carving. Although all SR™ brand photo resist films are extremely durable, holding the nozzle in one place too long can over heat and burn through the photomask leaving a speckled effect in the item.

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. Finish the job by taping off the unprotected areas of your piece with blasting tape (Diagram #16).

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

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

#14). 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

Diagram #15 Diagram #16

Diagram #17

Step #6- Application of the Photomask

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.

Step #7- Sandcarving

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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 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.

Step #8-Clean Up

Diagram #18

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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 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 ½ 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.

Troubleshooting Tips

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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 ResistUltra 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 overwashing), 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.

SR2000™ & SR3000™ Information

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Recommended use with:• HP• Canon• Xerox

• Xanté• Epson• Sharp

Note: Can repeat step 1 thru 3 again and again,as long as the film is completely dry. Use only in well-ventilated area. Please read MSDS for safety detail before using this product.

How to use Magic Dark™ Toner Repair:After outputting your image from your laser printer, lay the 1.

print film on a smooth flat surface. For best results use a blotting towel or paper towel.

With the use of a spray bottle, apply Magic Dark™ Toner Repair over the 2. imaged area. Make sure that the solution covers the entire imaged area. It is OK to saturate the surface.

Use the Magic Dark™ Stainless steelroller to roll over the image starting 3. from the bottom to the top. Clean the roller after every use.

Allow the print film to dry. Drying can be acheived by laying out to dry, 4. using a blow dryer, or a film dryer.

MDKIT Stainless roller, 8oz Toner repair $ 50.00

MD8 8oz Toner repair $ 25.00

MDQT Qt Toner repair $ 60.00

Magic Dark™ will not work with waxed based toner such as Brother, Lexmark, and Samsung.

Established in 1983, Rayzist® Photomask, Inc. has been the pioneer in the development of photographic masks for sandcarving and engraving applications. The process described in this manual has been recognized by the United States Patent Office who issued Patent Number 5,370,762 on Dec. 6, 1994. All users of Rayzist® SR2000™and SR3000™ photoresist are granted, at no cost, a license to use the Rayzist® process for production of sandcarving and engraving photographic masks. This license is granted with each order of SR2000™and SR3000™ photoresist.

Rayzist® Photomask, Inc. guarantees the proper use of all our products unconditionally. If you are not satisfied with the quality or performance of SR2000™ or SR3000™ photoresist products, contact one of our sales representatives to discuss replacement. For technical support, visit www.rayzist.com or call our toll free number and we will gladly assist you: 1-800-RAYZIST (729-9478).

955 Park Center Drive Vista, Ca 92081800-729-9478 www.rayzist.com

© Copyright 1997-2008 Rayzist Photomask, Inc. All rights reserved.