Awards & Engraving

March '16

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54 • A&E MARCH 2016 result he was looking for before attempting to blast the actual panel. This is a process I employ myself when working 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 per- fectly right off the bat. But that's not neces- sarily so. STARTING PANELS FOUR AND FIVE We worked on the drawing of panels four and five and also began working on the small sample pieces Pat had become familiar with in the process. As usual, the design looked innocent enough, but when analyzing how to blast it, questions quickly arose. What about the trees and the reflec- tions on the pond, not to mention the pond itself? How much detail should we have in the buildings and how should we approach blasting them? The path between the two buildings and the bar- rels became another point of discussion. It's easy to introduce a lot of tiny detail into a drawing, but one has to keep in mind where the glass is going to be installed and from what distance it will be viewed. In this case, the panels were to be placed fairly high above cabinets, and even though they would be illuminated by LED lighting, lots of tiny details were simply going to be lost. MAIN ELEMENTS TO TACKLE The Pond and Trees While blasting an image, one mostly thinks about blasting all elements, which means creating a whitish surface on the glass. Some subject matter, though, cannot be expressed in white values, but needs to stay almost un-blasted in order to read as dark or black. The pond was one such subject. This reminds us that mastering the shading technique is a must in realistic representations. In this case, that was not only true for the pond, but also for the reflections of the trees in the pond. The actual dead trees lining the shore would need to be carved, while the reflec- tions would have to be somewhat dis- torted and shaded. If you look at reflec- tions on a water surface, you know that you would not achieve a credible repre- The design with changes indicated after I consulted with Pat. ETCH MASTERS This shows the transition from panel three on the left to panel four. Not only do the lines of the landscape need to match up, but the degree of shading from one panel to the other needs to be smooth without any abrupt changes. Beginning to number the pattern for proper sequencing of blast stages for the carving part. Shaded areas are numbered differently and independently from carved areas. To help visualize the pond, I had Pat use a soft pencil and shade the water area black.

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