Awards & Engraving

September '19

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58 a-e-mag.com • A&E SEPTEMBER 2019 ETCH MASTERS By Ruth Dobbins With over 40 years in the glass busi- ness, Ruth Dobbins offers experi- ence in all glass-etching techniques as well as in fused and cast glass. Ruth holds a Master's Degree in Art and has been a partner in an art glass wholesale supply and studio company in Europe, which also placed great emphasis on a training program, before joining forces with Norm. You can reach Ruth by email at ruth@etchmaster.com, or by phone at 505-473-9203. As his design, Pat wanted to portray landscapes illustrating the concept From Sea to Shining Sea. He himself was not completely sure that he was ready to tackle a design of this scope. During this "gestation period," I had several conversations with Pat about this. After discussing all options, Pat decided that he would do it himself. He created a workspace at home and bought the equipment through us; then it was time to get serious. S ome of you may remember me writing about a former student and his ambitious project for his kitchen: a space above his cabinets that wrapped around a long side and one short side of the cabinetry (see my column in the March 2016 issue, page 52 for the last installment). Pat decided to enclose that space above the cabinets and wanted to insert glass panels into the created space. All in all, he wanted to create eight panels, each measuring 33 by 9 inches. A Work in Progress: Up, Up, and Away! PART SIX OF A LARGE PANEL PROJECT ASPECTS OF THE JOB He began drawing the individual panels without necessarily knowing how to draw all aspects so that they could be carved. As Pat developed the layout, he also began to see that there were many components in his design of which he did not have the slightest idea of how to execute. Realizing this, he contacted me for help with this project — help with the design as well as getting more extensive one-on-one training. In my previous articles, we covered the project through panel number five. Here, Pat was ready to tackle panel six and also begin musing about how to approach panel number seven. Through our work together, he also realized how important the transi- tions from one panel to another are. Not The drawn design for panel six. ALL IMAGES COURTESY RUTH DOBBINS The same balloon shaded in two different ways. The analyzed drawing for the blasting sequence.

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