Awards & Engraving

April '20

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A&E APRIL 2020 • 49 Sandcarving matter. They had several ideas in mind, but all in all, it seemed they were not too sure what they wanted to do. We discussed that he, Dennis, was also a photographer and had a couple of shots he really liked. Ultimately, we settled on one of those images to be translated into glass. The other big question, what the purpose of the glass was going to be, took a little more time to be resolved. Initially the discussion related to the question of creating a privacy screen and therefore filling pretty much the whole space with the glass piece, sparing about a foot at the end where people would walk by it. In relation to that, we had to discuss proportions: the photo was a vertical image where the space would turn into almost a squarish piece. We ultimately arrived at the solution of making the piece a bit narrower in order to represent the verticality of the tree in the photo. Having decided on that, another item had to be resolved: should the glass piece touch the wall on the right or did the client want to more or less center it on the half wall space. The decision was made to do the latter: center it in that space. Some of these decisions were being made as we began working on the rendering of the design. As we sent preliminary layouts to the client, it became clear that they had a hard time visualizing the outcome of the project. I provided samples of etched glass as well as many illustrations of other finished projects, but it was evident that they just couldn't imagine the look of the piece. As we kept talking back and forth, we finally had to reach the point where the clients said, oh what the heck, we trust you to do the right thing. That put all the pressure on me to second guess what they would like to see. Being concerned about that for a short while, I had to finally have a talk with myself and come to the conclusion that I would do my best to interpret the image and that would have to do. CARVING AND INSTALLATION The background to the installed piece was mostly light colors, so we opted for carving and some surface etching. When viewing a large carved area against a light Here you see some disappearing lines in the design (indicated by dotted lines) and some detail in the grass area pulled that have to be blasted first for correct sequence, then put back in place to blast surrounding areas. Some of the grassy area blasted using liquid resist to create the texture. I used brushes and sponges to apply the liquid resist. A leaf cluster peeled out of the resist and ready for blasting.

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