Glass surface roughened by abrasive blasting — silica or aluminum-oxide media at high pressure pits the surface into a uniform matte that scatters light. The mechanical sibling of acid-etched glass: same translucent visual register, sharper texture under the finger, faster to apply. Privacy-glass partitions, lampshades, art-glass relief work.
Compressed-air abrasive blasting at 60–100 psi with aluminum-oxide or silica-sand media (#36–#80 grit) onto annealed or tempered glass. Surface micro-pits 1–10 µm deep scatter incident light; transmission drops from ~92% (clear float) to 60–80%, haze rises from <1% to 50–90% depending on blast depth. Resist (vinyl mask, photoresist) defines etched zones for graphic / signage work. Tempered glass requires care — heavy blast can compromise the temper layer. Surface holds fingerprint oils more than acid-etched (mechanical pits trap; chemical etch is smoother). Often sealed with anti-fingerprint coating (silane / fluoropolymer) when used on touchable architectural surfaces.
character — translucent matte, slightly toothier than acid-etched, fingerprint-prone.
SSPC SP10 surface-prep standards; manufacturer abrasive-blast and etch-chemistry guides.
House vocabulary — terms ForMatter uses with intent.
Materials and processes for people who design and make things.
A local-first library of materials, processes, applications, and finishes — equal weight, citable everywhere, so a student can move from "what is this" toward "what's actually buildable here, now, by me." Part of the renato.design ecosystem — sibling of Plenum, Specimen, Ingenue, gesture, graf, and the Renato Rhino plug-ins. Form and matter, inseparable.
Half of teaching materials is teaching how the material is made into the thing. The standard subscription library was always light on that half. The wedge here isn't better samples or a prettier interface — it's treating Process as a peer entity, not a footnote.
Conway, Lefteri, Forty, Sparke, ASM, GIA. Every voice: Voices.
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