This tutorial provides step-by-step instruction on how to glue chip, paint and gild glass signs.
Some of the most beautiful glass signs were crafted in late 19th and early 20th centuries up until Prohibition. Used to promote cigar brands and adult beverages, these elegant bar signs were glue chipped, gilded and painted.
Glue
chipping is the art of creating a texture that looks like ice crystals on the
surface of the glass panel. To chip the glass, the artisan applies animal hide
glue to sandblasted areas of a glass panel. As the glue dries, it rips off
shards of glass from the panel surface, creating a dramatic effect.
After
the sheet of glass is glue chipped, the textured surface can be gilded, using
conventional gilding processes. Or the panel can be angel gilded or silvered.
In the angel gilding and silvering processes, solutions of gold or silver are
used to deposit the metal onto the glass surface.
Decades
ago, these glass signs were occasionally displayed at the sign shows. My personal interest in the glue chip process began many years ago, when I heard legendary sign maker, Rick Glawson, speak at a
letterhead meet.
 |
Photo Courtesy of Robert Frese, Chicagold
|
In
his slideshow, Glawson chronicled the history of glue chipped glass signs. Many
of his pictures were of the elaborate glass signs, which the Rawson and Evans
company had manufactured. At the turn of the previous century, Rawson and Evans,
which operated sign works in New York City and Chicago, was the premier
producer of decorative glass signage, wholesaling their products to sign shops
across the land.
When
the Volstead Act slammed the door shut on saloons in 1920, the art of glue chipped,
gilded glass signage was nearly forgotten. Many companies, whose business
depended on glass signage, either closed their doors or applied their craft to
other fields, such as stained glass and mirroring.
The
secrets of crafting chipped glass signage were soon forgotten and these
processes would have remained lost arts had it not been for the inquisitive
mind and unrelenting efforts of Rick Glawson. His painstaking investigation of
glue chipping and angel gilding revived the manufacturing process among the
most ardent practitioners of the esoteric sign arts.
Interest
in these types of signs has again waned. Because of the expense associated in
manufacturing these highly decorative, labor-intensive signs, it is unlikely
that we will ever see a resurgence of demand.
In
this article, I will explain how these signs are made; I will review the tools
and supplies that you will need; and I will cover the procedures step by step,
which you will need to follow carefully, if you want to duplicate the art of
glass sign making.
 |
| The American Sign Museum in Cincinnati houses a remarkable collection of gilded glue chipped glass signs from the late 1800s and early 1900s. |
Where To Buy Supplies for Glue Chipping
Supplies
for making glue chipped glass signs can be difficult to find. Two distributors
that sell supplies for glue chipping and gilding are listed below:
Letterhead
Sign Supply, 2570 Bodega Av., Petaluma, Ca., 94952
(www.letterheadsignsupply.com 800-531-3359).
Canadian
SignCrafters Supply (www.signcraftersupply.com) sells 10X Glass Chipping Glue
for about $10/lb.
Tools, Equipment & Supplies.
Below
are some of the tools and supplies that you
will need.
Sandblast
mask. For sandblasting use RTape’s ProGrade™ Paint Mask
 |
| RTape ProGrade paint mask is an excellent choice for sandblasting glass. |
Asphaltum.
Asphaltum is a dark brown, oily liquid that smells like tar. While the two
might smell the same, they are definitely different materials. Tar is a
by-product of the distillation of coal. One type of asphaltum, on the other
hand, is a by-product of oil refining. Gilsonite asphaltum is another type of
asphaltum that is found in nature.
For
the purposes of glue chipping, asphaltum, which is an oily substance, is used
to repel the animal hide glue, which is water-based. Remember, oil and water don’t
mix. Functionally, the asphaltum forms a mask that gives a clean crisp edge to
the glue chipping. Without it, the glue chipped edge may be ragged.
Use
the asphaltum directly right out of the can without stirring. You can roller
coat asphaltum directly onto the glass panel with using a short nap paint
roller. You don’t need to lay it on too thick. After coating the glass panel
with asphaltum varnish and let it dry. A half pint of asphaltum will cost about
$10.00.
Paint
roller. Apply the asphaltum with a short nap paint roller.
Xacto®
knife with #11 blades. Used to cut the sandblast mask, if you are hand cutting.
You will also need an Xacto® knife for cutting around the edge of your stencil
to free the glue from the masking material.
Glass.
For most signage projects, you should use ¼” (6 mm) glass or thicker. The
thicker, stronger glass is less likely to break. Tempered glass is unsuitable
for chipping. When you order a glass panel, specify that the edges are
polished. The polished edges will prevent
glass cuts.
Animal
Hide Glue. Not just any glue will work for glue chipping. You need to buy a
special animal hide glue without additives that could prevent the glue from
shrinking. If the glue doesn’t shrink, it won’t chip the glass. In planning
your project, one pound of glue will be sufficient to chip seven square feet of
glass. A pound of 164 gram strength animal hide glue costs about $10.
Scale
and Measuring Cups. An accurate scale comes in handy for weighing the glue,
which is typically measured by dry weight. Water, on the other hand, is measured
by volume using measuring cups.
Glue
pot. For controlled heating of the animal hide glue, invest in an electric glue
pot. With the heat set at 140ºF (60ºC), the chances of burning the glue are
reduced. Working with a glue pot is much more convenient and accurate than
using a double-boiler and a candy thermometer. Electric glue pots are
manufactured in a number of sizes. Finding a distributor that sells them may
take some searching and numerous phone calls. I ordered mine from Quill, Hair
and Ferrule in South Carolina.
You
can also use a crock pot to heat the glue, but you will need to monitor the
temperature of the glue very carefully. Even at a low setting, the temperature
will gradually rise past the desired level. Temperatures that exceed 155ºF are
too high.
Safety
glasses. Whenever you work with the glass during the chipping stage, you must
always wear safety glasses. As the glass chips, shards will unpredictably shoot
off in every direction.
Dehumidifier
or air conditioner. In a humid environment, the animal hide glue will not dry
properly, and as a consequence will not chip. In these cases, a dehumidifier is
essential equipment.
Many
kitchen utensils can be very useful when cooking the glue. Some of the
utensils, which sign makers have used for glue chipping, include:
- Soup ladle for spooning up the glue
- Funnel for pouring the hot glue into a squeeze bottle
- Turkey baster, which some have used to apply the glue to the glass panel
- Large metal spoon for stirring the mixture
- Kitchen timer. It typically takes 30 minutes for the glue to soak in the water. Then it takes another 30 minutes for the glue to cook.
- Candy Thermometer for monitoring the temperature of the glue.
Proper Prior Planning.
For
complex jobs, decide on the various steps that you need to take and determine
the correct order of steps in the process.
When
working on the second surface of the glass panel, everything that you do will be
in reverse. Not only will you have to layout your copy “wrong reading”, but
sequence in applying the design elements will be in reverse order.
In
planning your project, you can draw your design on vellum. When it comes time
to transfer your design from the vellum to the sandblast mask, you can pounce
the pattern or use Saral paper, which is similar to carbon paper.
Coating the Glass Panel With Asphaltum.
For
many glue chip jobs, coating the glass with asphaltum is unnecessary. Besides,
it’s just one more thing to clean up. However, if you are doing extremely
detailed chipping, it's an absolute must.
Before
applying asphaltum, thoroughly clean the side of the glass to be glue chipped.
After cleaning, coat the side of the glass panel to be sand blasted and chipped with asphaltum.
 |
| After cleaning the glass, apply two thin coats of asphaltum. |
Preparing The Sandblast Mask
After
the asphaltum dries, which takes about fifteen minutes, apply the sandblast
mask to the panel using the dry application method. For light sandblasting, use
RTape’s ProGrade™ paint mask for your stencil. ProGrade™ should work fine when
using sandblast medium with a grit size of 100 or greater and at a blast
pressure below 40psi.
The
type of sandblast mask that you will use as a stencil for glass will depend on
a variety of factors, such as type of abrasive, grit size and blast pressure.
In selecting a mask for your needs, it is always best to “Test, Don‟t Guess”
before going into production.
You
can cut the stencil using either a plotter or hand cutting the design. Either
way is acceptable. If you are plotter cutting the stencil, after you cut and
weed the paint mask, laminate an application tape, such as RTape 4075RLA or
4078RLA, to it and apply the stencil over the glass panel.
If
you are hand-cutting the masking, apply the masking to your glass panel and
then transfer your design to the sandblast mask or paint mask. You can either
pounce the design or you can trace your design onto the masking, using Saral
Transfer Paper. Saral paper is similar to carbon paper, but comes in several
different colors. You can buy it from Dick Blick. Using a #11 blade in your
Xacto® knife cut the mask and weed those areas, which will be sandblasted and
subsequently glue-chipped.
 |
| Using Saral paper transfer your design to the glass panel masked with RTape ProGrade paint mask. |
Sandblasting.
All
that you need to do is to lightly blast the surface with a fine grit abrasive. This
gives the glass something to grab onto. The recommended grit ranges from 100
grit to 180 grit.
What
does the grit number mean? The grit number indicates the size of the abrasive
particle. Just as with sandpaper, as the number or grit size becomes lower, the
size of the abrasive particle becomes larger. As the grit number increases, the
size of the abrasive particle decreases. For example, an abrasive with a grit
size of 100 is coarser than a 160-grit abrasive. Using a coarser grit will
produce a coarser finish on the surface of the glass.
“I
use aluminum oxide as my blasting medium, running it off an 80 gallon, 10 hp,
2-stage compressor,” says Cincinnati glass artist, Linda Roederer. “I set my
pressure at about 40 psi.”
The
coarseness of the grit used will affect the finished appearance of the chip.
The rule of thumb is the finer the grit, the smaller the chip. The coarser the
grit, the bigger the chip.
Roederer
cautions about blasting too deeply along the edges of the masking. “This
creates an edge for the glue to grab and can cause chips along outside of the
design,” she says. “Rick Glawson called small chips “plinks‟, and large ones “oysters”.”
The
coarseness of the sandblasting, of course, isn‟t the only variable affecting
the size of the chip. The thickness of the glue and its strength also affects the end result.
Sandblast Abrasives
For
etching the surface of the glass prior to glue chipping, generally you will use
an abrasive with a grit size no smaller than 100. There are a variety of
different abrasives on the market.
Silica
sand is typically much coarser than you will need and is really not suited for
glass blasting jobs. Silica sand has a very other downsides. The grit size is
not very consistent and can vary within a batch. But more importantly,
breathing silica sand dust can cause silicosis, which is a very dangerous and
debilitating lung disease.
Other
abrasives include garnet, aluminum oxide and silicon carbide. Aluminum oxide is
a very hard medium and etches glass quickly but can generate a lot of static.
The
most expensive abrasive is silicon carbide. It has no silica in its dust,
produces very little static and can be recycled over and over. It is slightly
harder than aluminum oxide, so it easily etches glass.
About the Sandblasting Process
Here’s
how sandblast etching glass works. Using air pressure, a stream of an abrasive
medium is directed at the glass panel. The tiny particles of abrasive collide
with the surface of the panel and chip off little pieces of glass. In its
finished form, the panel looks as it has been etched.
Usually
glass panels are sandblasted in an enclosed cabinet, which contains the dust
produced in blasting, but also collects the spent abrasive at the bottom of the
enclosure. That way the abrasive can be used over and over again, and the dust
is expelled from the cabinet by a reclamation system.
Take
your time when blasting so you frost the piece evenly and thoroughly. Carefully
inspect the panel, when you are finished working.
Animal Hide Glue Preparation
The
procedure for preparing the animal hide glue is a lot like cooking. To have
success in preparing your recipe, here are some suggestions:
Follow the recipe. On your first glue chip
projects, it’s probably best not to experiment. But save your experimentation
for later, after you have gotten the hang of the tried and true procedures.
When you do decide to try something new, be sure to document what you did. That
way, if you are successful in your trial, you can actually reproduce your
results at a later date.
 |
| Measure dry ingredients by weight. Measure liquids by volume. |
Stir
the pot frequently. Stirring ensures that everything is mixed up well and
prevents lumpy glue.
Keep
a tight lid on the pot. The glue pot does not come with a cover. This means
that you will have to improvise in creating a lid. You can use a piece of
Sintra or glass as a cover, but a ceramic plate works even better. The lid will
prevent the water in the glue mixture from evaporating. This accomplishes two
things:
- First, by preventing the water in the glue from evaporating, the mixture will not thicken.
- Secondly, and more importantly, animal glue stinks to high heaven and permeates the work environment. A lid helps contain the smell.
Monitor
the temperature. High heat with kill the adhesive properties of the glue. My
glue pot has a preset heat setting. If you are heating the glue using another
method, you will need to check the temperature with a candy thermometer. You
can buy one at your local supermarket for less than $10. After you remove the
thermometer from the glue, wipe it off with a paper towel and wash it with
dishwashing liquid and warm water to keep it clean.
Preparing the Animal Hide Glue Mixture
Not
any old type of glue will work for glue chipping. The type of glue that you
need to buy is called animal hide glue. This glue comes in dry granular
pellets, which must be mixed with water and heated. There’s only one type of
animal hide glue for glue chipping and other glues just won’t work. The
proportion of dry glue to water is important, so read the instructions that
come with the glue and measure carefully.
The
type of chip that you achieve depends on many different variables. The key
variables in glue chipping are:
- The type of glass
- The thickness of the glue applied to the glass panel
- The ambient temperature during the early stages of drying
- The type of glue used
- The ratio of water to glue
- The ambient temperature as the glass is chipping
- The humidity in the air, if you are not using a drying cabinet
By
tweaking these variables, you can vary the glue chipping pattern. Creating a
different pattern will take a little experimentation. Just make sure that you
take the time to accurately document your process step-by-step so that you can
reproduce your results.
The
ratio of water to glue, in mixing up your concoction, is a major factor. A
typical ratio of water to glue is two parts of water to one part of glue. For
example, mix 3 ounces of cold water with 1.5 ounces of dry glue. This amount is
enough to cover one square foot of glass.
You
can alter these proportions, but expect your results to vary. If you use less
water, the glue may set up too fast. On the other hand, if you use more water,
it may take longer for the glue to thoroughly dry, which means that it will
take longer for the glass to chip.
Slowing
down the process may be advantageous, if you are working on a large project.
Mixing the glue in ratios of two parts water to one part glue, for example, can
prevent it from setting up before you desire.
After
mixing the glue, put it in the glue pot. Let the pellets of glue soak for about
a half of an hour before turning the heat on. Using a kitchen timer will help
you keep track of the time.
As the glue pellets absorb the moisture, the
mixture will take on the appearance of oatmeal.
In
cooking up your glue mixture, you have several options. These include using a
double boiler or a specially designed hot pot or a microwave.
 |
| While the glue looks like oatmeal in this stage, as it cooks, it smells like a barnyard. |
Buying
an electric glue pot is money well-spent, because the temperature controller is
fixed at 140ºF or 60ºC. The fixed temperature prevents overheating mishaps. If
temperatures exceed 160 ºF or 71Cº, the glue is ruined.
If
you are heating the glue using a double boiler, carefully monitor the
temperature. Do not heat the glue directly on the burner.
Gradually
increase the heat until you reach 140° F. Occasionally stir the glue, to
prevent burning. You will need to maintain a temperature between 140° and
150°F.
The Glue Chipping Process
After
heating the glue, the next step is to apply it to the sandblasted parts of your
glass panel. In applying the glue onto the panel make sure that your work
surface is perfectly level. That way when the glue levels out, it will be at a
consistent thickness. Consistent glue thickness is critical in achieving a
consistent glue chip pattern.
By
varying the thickness of the glue, you can control the type of chip that you
get. If the glue is too thin it won’t chip at all. The glue needs to be at
least 1/16” thick. If you want a deeper chip, apply a thicker coating of
adhesive. The reason is that as the thickness of the glue increases, the strength
of the glue increases. As the thicker glue contracts, it has more power to rip
off larger chips from the surface of the glass.
I’m
not suggesting, however, that you should lay the glue on as thick as you can.
You shouldn’t, because a couple of problems can develop.
First,
as the heavier glue rips off bigger chunks of glass, the edges of the pattern
can become more ragged and less defined. The second issue is that an excessively
thick layer of glue won’t chip at all.
When
you apply the glue, you want it as level as possible. If you are using a thick
Hartco sandblast mask, after you apply the glue, you can use a straight edge to
squeegee the excess away. This technique will give you a uniform layer of glue.
Another technique is to use a fiberglass roller to apply a uniform thickness of glue.
Working
with the hot animal hide glue can be even messier than working with gorilla
glue. To control the amount of glue that you apply and control the mess, some
people put the hot glue in a plastic bottle such as a ketchup dispenser. Others
have used turkey basters to pour the glue onto the glass panel.
As
the glue cools, it gels to the consistency of caramel. When the glue is in this
state you will need to cut out the design with an Xacto knife and remove the
masking. Do not allow the glue to dry to a hardened state before removing the
mask.
After
the glue is applied and the mask is removed, the rest is up to God and nature.
The less you handle it, the better. People need to practice patience. They
often think that they need to help the process along, by picking at the glue.
They don’t.
As
the glue dries it hardens and contracts. For the best results, you need to put
the glass in a warm dry area. To get a really big chip called an “ocean chip”,
you can cover the wet glue with a piece of newsprint. The newsprint absorbs the
water from the glue, which makes the glue more aggressive and helps make a
larger chip.
 |
| As the glue dries, it rips shards of glass from the panel. |
As
the animal hide glue rips the shards of glass from the surface of the panel,
the pieces of glue and glass will end up on the floor of your shop. If you live
alone, you don’t have much to worry about, unless you walk around barefooted.
Just sweep up your mess. If you have pets or children roaming around your shop,
you will need to keep your place especially clean. Cats and dogs love the taste
of animal hide glue and will lap it up.
Glue Chipping Stages
What
controls the rate at which the glue dries is humidity. From the time you apply
the glue until the time that it causes the glass to chip, the glue will go
through three drying stages.
During
the initial stage immediately following the application of the glue, you will
need to keep the glass level on your work table for at least one to two hours
until it sets up. After that, the glue will continue to dry.
During
this second stage of drying, which lasts 12 to 24 hours, the glue will lose
most of its moisture. Ambient temperature and the relative humidity of your
shop will determine how long this process takes. During this stage you can
speed up the process by running a high volume fan in the room to circulate the
air.
Do
not try to speed up the process by heating the glue with a hair drier or heat
gun. Just let nature take its course. Force drying the glue can result in a
number of problems, such as inconsistent chip pattern or glass breakage.
The
final “chipping stage” is when the glue
rips the shards of glass from the surface of the panel. The heat and humidity
of the air are critical in the chipping process.
For
the glue to chip, the humidity needs to be lower than 40%. If the air is too
humid, it will take forever for the glass to chip. To help the process along,
you can place the glued piece of glass inside of a tent made of plastic film.
Inside of the tent, place a dehumidifier. As the glue dries it rips tiny pieces
off of the surface of the glass. It sounds a lot like popcorn popping.
Cleaning the Glue Chipped Panels.
If
the glass panel has been sandblasted and glue chipped, aluminum oxide residue
from the blasting medium and bits of glass have most likely contaminated the
surface. You must remove this contaminant prior to gliding. NOTE: If you are
silvering a panel, any aluminum oxide residue remaining on the glass will
blacken the silver.
First
soak the glass panel in a tray of water and scrub the chipped surface with a
scrub brush. On fine pieces, you can also use a toothbrush. Brushing will clean
off any remaining particles of glass.
For
silvering or angel gilding, you will need to clean any aluminum oxide remaining on the
glass with a solution of lye, which is
also referred to as “caustic soda” (not the type of soda that you want to
drink). Lye is extremely corrosive, so use extreme care when cleaning with this
mixture. Before using, READ AND HEED all of the precautions on the label and
all of the pertinent safety literature concerning its handling and storage.
There are definite dos and don’ts in using sodium hydroxide and you do not want
to do any of the don’ts.
One
of the dos is to store lye in an air tight container, made of stainless steel
or ceramic. The best advice is to store the material in the container that it
came in. The manufacturer designed this packaging for their product. Don’t
however store lye in an aluminum container. Sodium hydroxide will chemically
react with the aluminum and form hydrogen gas. (Do you remember what happened
to the hydrogen-filled zeppelin Hindenburg, as it docked in Lakehurst, NJ?
Kaboom!)
Don’t
let the lye come in contact with your clothing or body. Always wear protective
chemical gloves, safety glasses and a face mask. Note that I stipulated that
you should wear both safety glasses and face mask not one or the other. This is
an OSHA requirement not a recommendation. If you get Sodium Hydroxide in your
eyes, it can blind you.
When
mixing lye with water, don’t pour the water into the lye. Instead, slowly pour
the lye into the water. Be careful when mixing the two together, because they
will react when combined. In fact, if you mix enough lye with the water it can
get hot enough to boil.
Don’t
work with sodium hydroxide in an enclosed area. As I said before, this chemical
will react with other substances. Some of these reactions, produce fumes…highly
corrosive fumes that cause a chemical burn in your respiratory tact. Also be
aware that sodium hydroxide will also react with glass when you are cleaning
with it. If glass is exposed to the lye long enough, the chemical can etch the
glass, giving it a frosty appearance.
For
this cleaning process, some sign makers use Red Devil Drain Cleaner. This
particular brand of drain cleaner is 100% lye or Sodium Hydroxide (NaOH). You
might be able to find this brand of drain cleaner at your local ACE hardware
store or grocery store.
NOTE:
Some retailers have stopped selling the Red Devil brand. Some say because it
was taken off of the market because it is such a dangerous chemical. Other say
it’s because it is frequently used to make methamphetamines.
Before
you buy the drain cleaner, check the label to see that the cleaner is sodium
hydroxide. The bottle will contain a dry white crystalline flakes, pellets or
granules.
You
should dilute the Red Devil Drain Cleaner with an equal amount of tap water
(i.e., half cleaner and half water). Then apply the lye solution to the glass
panel. After cleaning, rinse the panel with clean water. Next, using a sponge,
wash the entire panel from edge to edge with dishwashing soap and water. It’s
best to wear dishwashing gloves when doing this so you don’t leave any body
oils on the glass.
Rinse
any of the soapy residue from the panel with clean water. If any of the water
beads up on the panel, the glass is not completely clean. So, you will need to
wash the glass again. Tap water contains chemicals, which can adversely affect
the angel gilding and silvering.
A
final rinse with distilled water will wash away any of these chemicals.
After
washing the panel, the glass is ready for priming or tinning with a solution of
stannous chloride. Just as priming a sign board ensures that the finish coats
of paint adhere well to the sign blank, tinning ensures that the gold solution
and the silver adhere well to the glass.
NOTE:
Cleaning the glue chipped panel with lye and gilding on the non-tin side of the
glass is only necessary when angel gilding. If you are applying gold leaf you
can clean the chipped glass panel, soaking it in warm water and liquid
detergent and washing the surface with a scrub brush. Follow the cleaning
process, rinsing the panel with clean water and then prepping the surface with
isopropyl alcohol, before gilding.
 |
| Prior to gilding, I am painting the glue chipped glass panel with a mixture of Ronan Japan paint and 1 Shot lettering enamel. |
Glass Gilding
When
gilding glass, you have two options. You can apply thin sheets of gold by hand.
Or you can apply gold in a solution. Each technique has its own advantages and
disadvantages.
Traditional
glass gilding takes skill. And to develop these skills takes practice and
considerable on the job experience. Even if you master the craft of gilding
with gold leaf, the finished product is never perfect. Lines where one piece of
leaf overlaps another are sometimes visible.
Traditional
glass gilding usually requires touching up the holidays, which are tiny
pinholes, with patches of gold leaf or by double gilding the surface. This
practice is painstakingly time-consuming, especially on large jobs. Waste
material is high, because of the nature of the process.
 |
| Traditional water gilding can be a very time-consuming process. |
In
many cases, angel gilding is less expensive than leaf gilding, because the cost
of materials is slightly lower. In fact, most of the glass barroom signs at the
turn of the century were angel gilded. In making these signs, the gold solution
was poured onto a flat or horizontal piece of glass. Spraying the gold is
another option, but was not attempted until later. Pouring the chemicals,
nevertheless, is the preferred method, because it is easier and more reliable.
The
primary advantage of angel gilding versus gold leaf is that it is flawless and
brilliant. There are no seams when one leaf laps another. You can never get the
same brilliance of angel gilding with hand laid gold leaf. Some
traditionalists, however, see this perfection as a disadvantage. The mirror
quality of the finish looks machine made, not hand crafted.
Conclusion
The
possibilities for producing mind blowing special effects on glass is virtually
endless, so let your imagination run wild. Don’t be afraid to try something
new. Nor should you be afraid to fail in your efforts.
Many
sign makers incorporate many different materials, processes and styles in
producing their gilded glass projects. These varied crafts include screen
printing, spray painting, application of inlays and photographs and acid
etching. Only by thinking outside the box, have these artists been able to
differentiate themselves from others in the trade.
New! Click here to visit my new blog about heat transfer films
About Jim Hingst: After fourteen years as Business Development Manager at RTape, Jim Hingst retired. He was involved in many facets of the company’s business, including marketing, sales, product development and technical service.
© 2015 Jim Hingst
New! Click here to visit my new blog about heat transfer films
Additional Articles About Gilding
Hingst began his career 42 years ago in the graphic arts field creating and producing advertising and promotional materials for a large test equipment manufacturer. Working for offset printers, large format screen printers, vinyl film manufacturers, and application tape companies, his experience included estimating, production planning, purchasing and production art, as well as sales and marketing. In his capacity as a salesman, Hingst was recognized with numerous sales achievement awards.
Drawing on his experience in production and as graphics installation subcontractor, Hingst provided the industry with practical advice, publishing more than 150 articles for publications, such as Signs Canada, SignCraft, Signs of the Times, Screen Printing, Sign and Digital Graphics and Sign Builder Illustrated. He also posted more than 325 stories on his blog (hingstssignpost.blogspot.com). In 2007 Hingst’s book, Vinyl Sign Techniques, was published.
© 2015 Jim Hingst
What is success? I think it is a mixture of having a flair for the thing that you are doing; knowing that it is not enough, that you have got to have hard work and a certain sense of purpose. cheap ounces of weed online
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