Awards & Engraving

September '19

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60 a-e-mag.com • A&E SEPTEMBER 2019 them look like heavy objects in the sky. In discussing the how-to, we decided that a combination of carving and shading would be the solution; at least, that is what we hoped for. The time had come to embark on the usual sample making to test our ideas and see what we would come away with. First in the process was analyzing the design for proper sequencing in the blasting process. This is something I teach in my workshops and enables anyone, even without art training, to come to a correct representation of any blasted object. As usual, we cut up a bunch of 1/4-inch thick plate glass to try out a variety of versions for the balloons. With the simplest of the balloons (only vertical stripes), Pat tried his hand at shading; he had to get back in the groove so to speak. Shading, which is like airbrushing with your blaster, is a tricky business: how much is enough and what is too much? Samples help in making that decision. Then Pat started on one of the balloons with the horizontal banding. I could tell that he was still interested in finding out if he could carve it. I told him to go ahead and do one so he could see firsthand what I had been trying to tell him, that it would look too heavy. He blasted the balloon anyway and upon viewing it, agreed that it was too much. We decided that maybe a combination of light carving for some of the alternating bands would look okay with some shaded A mid-way shot of the next balloon with the zigzag pattern. The finished balloon with light carving and shading. The pattern of the windswept trees. The blasted trees with nicely carved stems and branches.

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