Awards & Engraving

September '19

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A&E SEPTEMBER 2019 • a-e-mag.com 59 Sandcarving that the drawing needed to flawlessly con- tinue, but while blasting, the values from one panel to the next needed to be repeated. This means that when starting on another panel, it is important to place the previous one next to the new one so that the blasting density can be matched. Again, it is one thing to simply draw a design, but to be able to blast it is quite another. While the designs were taking shape, I selected specific areas of a completed design so that our art guy Damian could cut a stencil of that portion and send it off to Pat as a practice piece. This is the overall pro- cess Pat and I had discussed: as the designs were being finalized, we would send him small stencils of specific elements for him to practice on. He would get himself plenty of glass pieces to work on while we ordered the actual glass panels to be made. All panels are made from 3/8-inch thick crystal clear glass with all sides flat-edge polished. Since Pat was also considering installing some LED lights into the frame- work, we wanted to make sure that the edges of the glass were polished to allow the light to illuminate the blasted areas as well as possible. In the meantime, Pat learned the value of blasting the sample pieces, sometimes more than once, until he felt familiar with the way to create the result he was looking for before attempting to blast the actual panel. This is a process I employ myself when I work on projects. It often astonishes others when they hear me talking about this. It seems that everyone believes that just because you know how to blast well, you can blast any imagery perfect right off the bat. But that's not necessarily the case. PANEL SIX Each one of the panels presents different scenery and with it, new challenges of how to go about blasting what Pat found before him. This panel's main attraction are the balloons floating over a rugged landscape of mountains and cliffs. Upon first glance, the shape of a balloon looks innocent enough, being a fairly simple shape without tremen- dous amounts of detail. But then Pat had to think about how to blast them. If he surface- etched them, they would look flat, and carving them would make The balloon carved and completely white. We decided that this is too much. Pat set out to work on a shaded version of the same balloon. The shaded balloon with lightly carved bands showing barely blasted thin lines vertically separating the panels. The same sample held up to strong back light to show off the almost-unblasted bands.

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