FAQ: Frequently Asked Questions

• Why we contact the person for payment
• Terms of Sale
• Disclaimer
• Shipping
• Copyright
• Acrylic vs Mixed Media vs Watercolor
• Framing
• What is sandcarving
• How to sandcarve

• Why we contact the person for payment:
  • This allows us to validate information for the purchaser and Liz-Art Creations.
  • Confirms the order and the price including shipping and any additional costs, if any (i.e. handling, duty, brokerage fees, insurance, and taxes).
  • Reduces the possibility of fraud or unauthorized use of credit cards.

• Terms of Sale:
  • All sales are final for any item that can be copied or reproduced once the item has shipped.
  • All sales are final for a commissioned custom order.
  • Deposits are required for commissioned work and are none refundable.
  • Purchaser is responsible for all taxes, shipping, handling, brokerage, insurance, and duty costs that may be incurred.
  • Purchaser must own the copyright of any artwork they want reproduced by Liz-Art Creations.  Liz-Art Creations is not liable for any copyright violations.
  • Liz-Art Creations items that cannot be copied or reproduced or are not commissioned custom orders may be returned within 14 days after they have been shipped from Liz-Art Creations.
  • Items returned must be in the same condition as they were when originally shipped from Liz-Art Creations.
  • The purchaser is responsible for the cost of shipping for returned items.
  • Refunds will be made once the item is received by Liz-Art Creations in it's original condition.
  • Accepted returns will be refunded by the same method as the original payment was made.
  • Liz-Art Creations reserves the right to not create custom artwork if they believe the artwork will negatively impact their reputation.

• Disclaimer:
  • We try to display our work on this website as accurately as possible but we can not guarantee that the images you see on your device will be the exact color of the original artwork.  There are many reasons for this.  One of the key reasons is that every device (camera, computer, monitor, mobile device, printer) has its own specific color profile.  The color captured on our camera, downloaded to our computer, uploaded to our web host, and then downloaded to your device has to deal with each devices color profile.  Because of this there may be subtle differences between what you see on-line when you order vs the item received.  Also we photograph our images using "Daylight" lighting.  Viewing the artwork under different lighting conditions will affect the visual interpretation of the colors.  Reflective elements like glitter, color shifting paint, and resin require movement to truly appreciate their beauty but reproducing that effect in a photograph isn't possible.

• Shipping:
  • We typically ship within 3 business days once an order is complete and we have received full payment.
  • All items shipped are insured for the full value of the purchase price.
  • Shipping costs are determined based on the purchasers preferred method of delivery.

• Copyright:
  • All artwork created by Liz-Art Creations is owned by Liz-Art Creations.
  • Reproduction of artwork is strictly prohibited.
  • The client must own the copyright for any artwork they want reproduced by Liz-Art Creations.

• Acrylic vs Mixed Media vs Watercolor:
  • Acrylic paintings may or may not be framed and do not require a glass covering.  Acrylic paintings are coated with a clear archival spray.
  • Mixed Media is a combination of mediums including paint, extenders, wood, glass, mirrors, glitter, resin, and textural materials.   A protective coat of archival spray is applied to mixed media paintings that do not have a resin coating.
  • Watercolors are done on fibrous materials such as paper (i.e. acid free 140lb+ watercolor paper) or wood and are typically framed and covered by glass to protect the artwork from damage and deterioration from insects or moisture.  Some water colors are used to augment pyrography on wood panels and are covered with a protective coat of resin.

• Framing:
  • The frames are selected to compliment the painting.  They may be commercially produced, or designed and constructed by Liz-Art Creations using distressed vintage barnboard, or other materials.
  • Matting may also be included with the framing of a painting.

• What is sandcarving:
  • This is my interpretation and how I define sandcarving.
  • Sandcarving is the removal of material from a solid object using abrasives propelled by compressed air (sandblasting) in a controlled manor to modify or create a pattern, or change the shape of an object.

• How to sandcarve:
  • There are many factors and methods that need to be known to create the desired results, and there are various techniques that can be applied.  I have tried a variety of methods and products and the information below is based on my experience.  The best source of information is directly from manufacturers and vendors.  Sandcarving can be dangerous.  Please follow all manufacturer safety guidelines as well as government safety standards associated with sandblasting and the materials used in the process.   A few of the items that need to be considered are:
    • The hardness of what you are carving.  The abrasive needs to be harder than the object being carved.  Polishing and cleaning can be done with softer abrasives.  Marble is a metamorphic stone that is relatively soft and carves quickly.  Granite is a substantially harder igneous rock and takes longer to carve.  Glass falls between these two materials.
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    • The type, hardness, and size of your abrasive.  (You must know how to use the abrasive safely.  Silica dust is extremely dangerous which can cause silicosis.  A deadly disease.  You need to be aware of the type of dust created by the abrasive and the dust created by the object you are carving).  There are many different types of abrasives ranging from soft which can be used for polishing and cleaning to extremely hard which is used for carving.  Abrasives do break down and need to be replaced.  The type of abrasive will determine how long it will last.  The amount of detail you are trying to achieve influences the size of abrasive you use.
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    • What air pressure to use on the carving.  This is determined by the desired depth of the carving and the masking material's thickness and adhesiveness.  Too much pressure could lift the mask off of the material being carved or damage the mask prematurely.  Too little pressure and the desired results may not be achieved.  More pressure relates to faster carving but the mask material needs to be able to withstand the pressure.
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    • How long should you carve in a specific area.  During the carving process heat is generated which can affect the adhesive attaching the masking material to the object being carved and it could also affect the masking material.  Sweeping across an area allows the area to cool before the next pass.
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    • How close should the blasting gun be to the object. If you hold the gun too close it could lift the mask off of the work.  If you hold it too far away the carving process will not be efficient.  Grit size also plays a factor.  A courser grit has more mass than a finer grit and therefore is more effective if held further away.
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    • What masking material is used.  The masking material protects areas from being carved.  How masking materials work is by providing a soft surface that causes abrasives to rebound off of them or by providing some means of blocking the abrasive from hitting the surface to be carved.  A steel plate could be used for a mask providing it didn't wear through before the carving was completed.  Commercial products are typically a type of rubber.  The type of mask is determined by the type of material you are carving, the shape of the object being carved, the desired depth of the carving, abrasives used, air pressure used on the blasting gun, desired method of adhesion, and shop setup.  There are many types of masking materials.  For extremely light carvings/etchings masking tape may suffice, or it can be used to protect areas that will not be blasted directly.  Self adhesive vinyl may be suitable for a little heavier etching.  For deeper carving commercial masks are available which range in a variety of thicknesses and types of adhesives.  For curved objects flexible masking material is required.
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    • How are the masks created. Masks may be photo sensitive meaning the artwork is applied to the mask using UV light.  This is done by blocking light from reaching certain areas of the mask and allowing light to expose other areas.  These types of masks can be either positive or negative meaning the area that will etch will either be the area exposed to light or the area that wasn't exposed.  Masks can be wet washout, meaning that the areas to be etched have to be washed out with pressurized water and then dried before use.  A dry mask does not need to be washed out.  The area to be etched will blast out during the carving process.  Dry masks are better if your shop does not have access to water, or has the potential of freezing in the winter.  Dry masks continue to be sensitive to UV light after they have been exposed so any masking material that is not used immediately needs to be protected from UV light.  Wet masks are not susceptible to UV light after they have been washed out.  There are also masks that are not photosensitive.  The artwork needs to be cut out of the mask.  This can be done by hand using knives and scissors, or it can be done with a plotter/cutter.  The plotter/cutter connects to a computer which controls the cutter head.
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    • How thick is the masking material.  Thinner masks under 10mm ( i.e. 2mm - 6mm) allow for finer detail which is appropriate for etching photos,  thicker masks >10mm (i.e. 30mm) are suitable for deep etching and higher pressures.  Thicker masks are also better on uneven surfaces like rock.  Thin masks are very susceptible to air bubbles between the mask and the surface being carved.  Thin mask material over an air bubble will often blast away leaving and undesired area exposed to the blasting.  It only takes seconds to ruin a carving when this happens.
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    • What level of detail and accuracy is required.  Accurate photos or fine text require a lot more detail and accuracy than doing an address number for a house or business.  In order to achieve this level of detail thin masks are required.  The balancing act for sandcarving is between hardness, depth, mask thickness, level of detail required, and carving time.  Harder materials and deeper carvings require thicker masks.  Fine detail requires thinner masks.  Carving time comes with practice and experience.
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    • How deep do you want to carve.  Depending on the material being carved the depth and width of a carving affects the shape of the carving.  The direction of blast can also affect the shape.  When doing a shallow carving with the gun perpendicular to the surface the shape of the area is more of a "U" shape.  When holding the gun in the same manner while doing a deep carving the area being carved will take on more of a "V" shape.  The abrasive hitting the sides ricochet into the middle causing a deeper etch towards the center area.   A wide area being carved will not be affected by this.  This is more common where text is being carved.  The type of material being carved will also affect the shape and depth of the carving.  The depth of the sandcarving on wood or dolomitic limestone which have different hardnesses throughout will also affect the shape of the carving.  Harder areas will not etch as fast as softer areas.  Growth rings on wood have different hardnesses.  The depth of the carving will affect longevity.  Studies I have come across regarding granite in North America have indicated that the erosion rates are between 1 and 100 meters per million years.  There are a number of factors affecting this.  The type of granite (porous or tight grain), wind erosion, water erosion, water freezing (expansion), thermal expansion and contractions, location (exposure to the elements), biological organisms (certain bacteria consume minerals in stone), and chemical erosion.  Polished objects such as stone and glass resist erosion better than rough surfaces.  Eventually the polished surface will suffer from erosion.  A deeper carving will obviously last longer than a shallow carving.  Etching on polished stone can also be done with lasers but the depth of the etch is extremely shallow.  I am no expert but from what I have read the laser heats a tiny bubble and when it pops it leaves a dull spot on the polished stone.  All of the laser etching I have seen have been on polished black granite.  I don't know if lasers work on rough or other colored stones.  In essence the laser creates a halftone image on the stone.  Lasers produce amazing quality images but they are shallow.  I prefer the sandcarving method even though it is a lot more work than using a computer programmed laser, the depth of the carving is substantially deeper than the artwork created by a laser and should last substantially longer.
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    • Will the carving be sealed with paint or by some other means.  When carving photos on polished granite the sandcarving leaves a very porous etch in the stone.  On a black stone the etched area appears gray and has very little contrast.  Adding color to etched areas dramatically enhances the sandcarving and makes the image stand out from the background.  This applies to any object being carved including wood, glass, mirrors, stone, plastic, etc.  This can be done on any area of the sandcarving, and more than one color can be applied using masking and shading techniques for painting.  It is often best to do the painting while the sandcarving mask is still on the surface.  The carving's porous surface is an excellent surface for paints to adhere to creating a strong mechanical bond.  Paints seal the porous carved areas reducing the chance of erosion.  To fully seal and protect an object the entire surface would have to be protected.  That is why granite counter tops have surface sealer applied.
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    • Will it have multistage carving.  Multistage carving is where the "artist" accurately controls the depth, location, and shape of the sandcarving to produce a 3 dimensional sculpture.  This is achieved by having substantial knowledge of all of the above, and by controlling the stages of how the object is carved.  Multiple masks are used which together combine a desired creation.  A good example of what this is like would be a jigsaw puzzle.  Each little piece combined with its adjacent pieces form a complete picture.  For multistage carving all of the pieces are applied to the object and then specific pieces are removed to allow for the sandcarving in that area.  The challenge is, once a piece has been removed, that area remains exposed and will continue to be etched as other pieces are removed.  The longer an area is exposed the deeper that area will be carved.  The size of the gun nozzles and direction of the blast will also affect the shape of the sculpture.  Doing this on a small detailed object is more difficult than doing a larger object where there is more ability to control the direction of the abrasive.
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  • The first step in the process is creating the artwork, but before you do this you have to know how the mask will be created.
    • If using a photo sensitive mask:
      • Know the type of photo sensitivity of your mask material.  Is it a positive or negative type of mask.  Do the exposed areas blast out or the clear areas of the artwork.  Plan your artwork accordingly.  If the white areas in your artwork are what will be blasted you need to make the background black.  This uses a lot of ink and toner when using computer printers.
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      • You could draw on a transparent film using very dark black none transparent inks.  The inks must adhere to the transparent film and will not bleed.  Make sure the ink is dry before exposing it to the mask.
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      • You could generate your artwork using a computer and print on transparencies.  The image is printed in black and white=clear/transparent.  Make sure the transparencies are designed for your type of printer.  You need to use this method if you plan to do photos.  In order to create photos you use halftones.  There are a variety of software applications that can create halftones from photos.  When printing on color printers make sure the printer setup will use all the color cartridges to produce the darkest image.  If the image isn't dark enough light may pass through the dark areas during the exposure process when transferring the image to the mask which will not produce the desired image.
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      • You could cut out thick dark paper in the shape that you want to transfer to the mask.  Anything that will block light can be used for artwork.
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    • If using a non-photosensitive mask:
      • You could cut out the artwork directly on the mask using a sharp knife.  For example, if you were using self adhesive vinyl you could apply it to the object and then cut out the areas you want to etch.  This was how I did my first sandcarving back around 1995.  Actually, my wife, Elizabeth the artist did the cutting.  I did the sandcarving.  It was done on our dining room window.  It looks as good today as the day I carved it.
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      • You could use a plotter/cutter and a computer to create the artwork.  The artwork is not as detailed or as accurate as photo sensitive masks.  I use this when I am doing larger areas that require deeper carvings or are on rough surfaces.  The mask material is thicker (30mil) and is not as sensitive to unsupported areas which occur when carving rough rocks.
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    • When creating the mask you have to know where it will be applied, how the artwork is transferred to the mask, and how the mask is adhered to the object being carved.  Typically if the mask is applied to the back of glass or mirror the image needs to be flipped (left to right around the vertical axis) otherwise it will appear backwards.  Make sure you are exposing photosensitive masks on the correct side.  They come with transparent film on both sides and it isn't difficult to expose the wrong side.  They may also have an adhesive side so you need to be aware of that as well.
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  • If using the non-photosensitive mask you can skip this step.  Photosensitive masks need to have the artwork transfered to the mask.  This is done with UV light or lasers.  For UV masks the printed side of the art needs to be pressed up against the correct side of the masking material and then the artwork side needs to be exposed to UV light for a specific length of time.  The black areas of the artwork prevent the UV light from making contact with the mask thus exposing and transferring the art to the mask.  The back of the mask cannot be exposed to the light so it should be in direct contact with a non-reflective non-transparent fully opaque surface.  Typically this is a type of rubber. There are key requirements during this process.  If you are using an artificial light source you have to understand how intense it is which will affect exposure times.  UV bulbs also loose there strength over time.  Mask manufacturers provide recommended exposure times for specific thicknesses of mask but it usually requires some testing to figure out the correct exposure time for the strength of the light source and the thickness of the mask.  This is done by exposing small samples, which have part of the mask covered, to the UV light source for different times and then processing the film according to the type of mask used.  Dry masks can be tested by bending the film which should be brittle and snap on part of the mask and be flexible on the other section.  Washout masks need to be pressure washed to see if one area will wash out while another area remains flexible.  These tests will also determine if the mask is a positive or negative style by identifying the area that will be etched when exposed to the UV light.  One light source that is very consistent and inexpensive is full sunlight.  It exposes the film very quickly.  Be careful when moving unexposed film in sunlight.  Once the correct exposure time is determined the artwork can be transfered to the mask.  When using a dry mask you can continue onto the next step.  If using a washout mask you need to remove one of the carriers from the correct side of the mask and wash out the mask with pressurized water and then the mask needs to dry.  Warm water is usually best.  Leave the remaining carrier on the mask until the next step.  To ensure there is nothing that could block light it is best to ensure surfaces are clean before exposing the mask.  There are a lot of different types of photo sensitive masks available.  Some masks are exposed using UV light, some are exposed using lasers.  The laser masks have the artwork transfered using computer controlled lasers.
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  • Once the mask has the artwork it needs to be applied to the surface being etched.  Some masks have self adhesive backing while others require that an adhesive be applied to the surface.  Whichever method is used it is wise to clean the surface of the object being etched.  A typical dry mask self adhesive application starts with the cleaning of the object, then rolling back a small edge of the thin carrier film on the adhesive side that goes against the object, and then aligning the mask on the object.  Once the mask is aligned the small area of the exposed adhesive can be stuck to the object.  The use of a plastic squeegee can be used to press down and work bubbles out from under the mask as the carrier is pulled out from between the mask and the object.  The similar technique can be used with washout style of masks except the adhesive side of the carrier will have already have been removed during the washout process so instead of pulling the carrier out from between the mask and object you align the mask and tape down one edge and fold the mask back.  You then roll the mask into positions and use the squeegee to make it adhere to the object.  Adhesives may have to be applied to the objects surface if the mask does not have any adhesive.  For masks that are cutout you would also use the rolling technique.  On thick masks you can use a brayer to apply pressure to the mask to improve adhesion.
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  • Once the mask is applied to the surface any outer carriers can be removed.  This fully exposes the rubbery surface.  On hand cut or precut masks you would then remove the areas that are to be etched.  For thinner masks you need to try and remove air bubbles because they will blast open during the sandcarving process and ruin the object.  This can be done using a wire wheel which you roll over the mask.  This wheel pokes small holes in the surface of the mask which allows the air to escape when pressure is applied to the area.  A brayer might be used to roll over the mask to remove air bubbles once the carrier has been removed.  A vacuum system large enough to accommodate the object is very effective at removing the air bubbles.
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  • Next you should mask off any areas that you do not want etched.  Use thicker tape or multiple layers of tape to cover areas that will have extensive exposure to the blasting process.  You can use masking tape to protect areas that will not have direct exposure.  What you use for direct exposure must be able to hold up for the entire sandcarving process.  It can overlap the masking material providing it doesn't cover any areas to be etched.
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  • Now that the mask with the artwork on it has been applied and all the exposed areas have been covered it is time to fire up the compressor and start sandcarving.  When it comes to sandcarving you need a robust compressor.  Something that will deliver a significant volume of air at 90psi.  I use a gas 13 horsepower two stage compressor.  If I am doing something small I might use my electric 2 horsepower compressor but I still have to wait for it to recharge after short periods of time.  The pressure range for the sandcarving  process can range between 20psi to 100psi.  Thinner masks, fine detailed artwork, and softer object are carved at lower pressures.  Thick masks, course artwork, and harder objects are blasted at higher pressures.  Another factor to consider is the size of nozzle on your blast gun.  A 1/8" nozzle has a finer more concentrated blast pattern and does not use as much air as a 1/4" nozzle.  You will learn through trial and error what works with your configuration.
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  • Before you start doing anything with sandblasting you need to know and follow safety standards.  Silicosis is deadly.  From what I have read, when sandblasting was first performed approximately 100 years ago, the life expectancy of a sandblaster was between 3 and 10 years.  They used handkerchiefs as respirators.  When I sandblast I use a sandblast cabinet with vacuum system and a full face P100 respirator and I wear ear protectors.  You might think there is no need for the respirator since I use a sandblast cabinet.  Well all cabinets are not made equally and seals do leak around the doors.  At some point I have to open and close the doors and that dust floats out even though my sandblast cabinet has a vacuum system on it.  I started using ear protectors when I discovered fine dust in my ears after spending a day doing sandcarving. The vacuum system on my cabinet did not filter out 100% of the dust so I enclosed it in its own separate cabinet.  I also went through my entire cabinet before I used it and sealed every seam with metal duct tape.
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  • There are different styles of sandcarving systems.  Some use a gravity feed siphon system where airflow through the nozzle creates a vacuum that draws the abrasive to the nozzle.  Others use a pressure pot system where the area containing the abrasive is pressurized and forced into the hose to the nozzle.  I have both and I am pleased using either system.  The pressurized system is more complex to use but allows more consistent control of the volume of abrasive.  One item that is important is the nozzle.  There are a variety of shapes and materials to choose from.  It is worth while researching the different types based on the type of sandcarving that is being preformed and selecting a size, shape, and material that directs the abrasive in a desired pattern, and will stand up to the type of abrasives being used.
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  • After building up pressure in the compressor, dialing in the selected pressure required for the project, putting all the safety gear on, starting the vacuum on the cabinet, turning the internal cabinet light on and putting the object in the cabinet you are ready to start carving.  Since I am the only one working in my shop I also turn off the lights in the room leaving only the lights on in the cabinet.  It really helps reduce glare and enhances my ability to see in the cabinet.  I should also change the protective covering on the inside of the cabinet window more often but I usually wait until visibility gets bad before doing that.  I made a stand for inside my cabinet which allows me to lean or stand the object up at a comfortable angle for sandcarving.  Holding granite tiles in one hand while you blast can be quite a strain on the arm.  When I start the carving I start with the nozzle about 8" from the object and start a sweeping pattern back and forth across the object.  I will move closer to about 5" after doing a few passes across the whole mask area. During the carving process I keep my nozzle between 4" and 5" from the surface of the object.  I keep the nozzle perpendicular to the surface and continue moving back and forth covering the area containing the artwork.  I continue this until I start to see a pattern forming on the artwork mask.  I will then stop the remove the object from the cabinet and examine the mask using a 10x magnifying glass.  I look at areas to see how deep the carving is and try to continue blasting in areas that require more depth.  If I am using a dry mask the mask has to blast out before any etching of the object occurs.  For fine detailed artwork like photos these areas may look grey and match the color of the stone being carved so they appear to be blasted out when in reality nothing has carved into the object.  That is why I use the magnifier to locate areas that haven't been fully exposed.  Once abrasives are making contact with the object the carving process can go rather quickly.  For fine detail artwork on thin masks it is a challenge on knowing when to stop before you wear the mask out or blow it off the object.  Even with decades of experience it still sometimes happens to me.  Either of these situations usually ruins the project and I have to start again.
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  • Once the carving is finished I take the object to another small cabinet that I use to blow off any remaining abrasive.  At this point I inspect the artwork and the mask with the magnifier.  If the etch is deep enough and the mask is in good shape and all the surface is still covered I would then paint the mask using a high quality masonry spray paint.
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  • Once the paint is dry the last step is to remove the mask.  A lot of the mask may come off when removing any tape but any that remains can easily be removed by rubbing or peeling it off, and if the object can be submersed in warm water it is even easier to remove.
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  • The project is complete and the only thing left to do is clean the shop, put away the tools, and enjoy the creation.