Wall-To-Wall Dead (40 page)
Etch Your Own Mirror
Developed in the mid-1800s, acid-etched glass became popular for its ability to shield patrons of drinking establishments from view while letting in natural light. Victorian and Edwardian homes quickly adopted the look, and today, etched designs appear on windows, mirrors, and even glassware.
MATERIALS
• Glass or mirror
• Glass cleaner
• Microfiber cloths
• Glass etching kits (with stencils)
• Contact paper
• X-ACTO knife
• Smoothing tool
• Etching cream
• Paper towels
• Soft-bristle artist’s brush
• Latex gloves
• Water
• Pencil
• Carbon papers
DIRECTIONS
1. Before etching, wash your surface with glass cleaner to remove dust and fingerprints. If you mop up the cleaner with a microfiber cloth, it will help eliminate residue.
2. For a big project, opt for a peel-and-stick vinyl pattern stencil, which is easy to reposition. Or draw your own on contact paper, then use an X-ACTO knife to cut the contact paper away from the areas that you want to etch. To avoid seepage and air bubbles, use a smoothing tool, such as a plastic square or an old gift card, to affix the stencil/contact paper and seal the edges.
3. Apply the etching cream over the open areas of the stencil in a thick coat using a paper towel or a soft-bristle artist’s brush. Because etching cream is made with ammonium bifluoride, which can irritate the skin, you should wear gloves while working with the cream.
4. Wait the amount of time required for the brand of etching cream you are using—usually five to ten minutes.
5. Use a sponge to rinse the cream off of the glass. For best results, work from top to bottom. If the object is small enough, forego the sponge and rinse with cool water in the sink, or run water from a hose over the object outside.
6. Peel off the contact paper and rinse the glass under cool water again.
As always, thanks go out to a lot of people who had a hand in making this story what it is:
My editor, Jessica Wade, and the rest of the team at Penguin and Berkley Prime Crime, as well as agent Stephany Evans and everyone at Fine Print Literary Management.
Cover artist Jennifer Taylor, cover designer Rita Frangie, and book designer Laura Corless, for making the book beautiful.
Publicist Kayleigh Clark, without whom this book would be nowhere.
My critique partner and tireless cheerleader Jamie Livingston Dierks, who not only did her usual helpful job with the manuscript, but who also graciously allowed me to use her name for one of the characters. I hope you’re happy with Jamaica Lee!
The wonderful Faye Pond for once again supporting a good cause and ending up with character names in one of my books. This time it’s Benjamin Quinn and William Maurits, and I hope you’re satisfied with the way they turned out.
Brad Sorensen, for the title.
All my friends within and without the publishing industry. By now there are way too many of you to mention by name, but know that I’m grateful for each and every one of you. I wouldn’t be here if it weren’t for your love and support.
Last, but certainly not least, thanks to my family, who knows the real me and loves me anyway. I couldn’t do what I do without you, and I’ll always be grateful that you let me be who I am.
xoxo
