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| "Murdered Animal" 2018 see pics below! |
Remember, I post here under the tag demo, for more detailed information on specific pieces.
Some procedural details: first of all, I do not mind sharing. I am happy to let people know how the look of my work is accomplished. I invented very little of it (the file engraving being the exception), but I think my contribution is just how much of these techniques I use and my orchestration of them. Finally, I can tell in general how the work is made, but I can be very experimental and my procedures vary greatly. So the descriptions here are in general. in no way are they "rules" or even an accurate description of my methodology--it is in flux (glass pun!)
A few of the most common technical misunderstandings are: 1. "The work is painted" The look of my work is not the result of painting. I do use paint, but comparatively little. I have heard people absolutely insisting that its painted. NO NO NO NO NO NO its not!!!!! This is me speaking, and I am not only a first person witness to myself, I actually am doing this myself. What you are seeing is the results of engraving. The only paint is black and yellow and sometimes pink. The reds, blues, and any secondary or tertiary color made with red or blue is the results of a combination of sandblasting and engraving.
2. There is a technical difference between etching and engraving. My work is not etched. In both glass and metals, 'etching" refers to the use of acid. Engraving refers to the use of tools. My work is engraved. Over and over again, I see people misusing these terms. Etching=acid, engraving= tools.
I start with a sketch- I do not typically work with a complete sketch (and only very rarely do I work with a color sketch) as I like to leave many of the creative decisions (and the color choices) for when I am actually working with the glass.
Once
I have some idea of what I want to do, I start cutting the glass. The glass I use the most is called “Full
Antique Flash Glass”. I prefer Lamberts
or Verriere St. Just, both hand blown and imported from Europe. Flash glass is a type of stained glass with a
paper thin layer of intense color on a lighter, thicker layer. Despite the
name, the glass is not actually “antique”.
This glass has the advantage that the color can be removed by sandblasting and engraving revealing a
contrasting area of color.
I
use a regular steel wheel cutter to cut the glass and I also use the standard
stained glass equipment of a grozing and running pliers to further refine the
shapes. After the glass is
shaped, I grind all the edges on a router type grinder. I do this partly because I am still squeamish
about getting cut (after all these
years!)
The
next step is to do any sandblasting that needs to be done. Sandblasting is a process by which one can
remove areas of the colored layer by abrading the surface with sand at a high
pressure. I use a variety of resists to
create stencils for sandblasting, including glue and masking tape, but the most
common type of stencils I use are hand cut translucent adhesive vinyl or a
photographic film that is glued to the glass.
Sometimes
people think sandblasting is like an airbrush and can make a refined image. However, I only use it
to prepare the surface of the glass for engraving and to remove large
areas of color. It is a clumsy machine and I do not use it to make
detailed images.
And
now we get to nitty gritty (also a glass pun!) After
sandblasting, I engrave smaller details. I have several engraving
tools. Civilians would be reminded of dentist drills. I use diamond
ball burrs and cold water.
In conjunction with power tools, I also use diamond hand files to
further refine the engraving. This is the part of the process when the
image gets its detailed, tonal look. It also takes forever and can be
physically painful.
In
terms of work, the cutting and sandblasting take a very short time, but
this stage can take weeks and weeks. To make a nice engraving of about
5" would take a day or so.
The
next step is painting with glass paint.
The only color I use is black or very occasionally, brown.
I paint it on and fire it in a 1250˚ F kiln to adhere it
permanently. I usually do 2-5 firings
per piece of glass as that is the best way to get rich blacks and tonal
variation. I also use silver stain. Silverstain, the origin of the term stained
glass, is silver nitrate in a gamboge base--not really paint as it
penetrates the surface of the glass and actually stains it yellow. When
it comes out of the kiln, the gamboge is washed off to reveal the
yellow. Lately I have been working with pink enamels. (Note: the
terminology is confusing, enamels, vitreous paints and stain are all
different things to a stained glass artist, although they could all be
sort of classified as "paint" since you paint them on. They all fire on
in a kiln and are permanent until the sun burns out and the universe
collapses.) I have been known to use a tiny bit of cold paint but only
on windows to be displayed in lightboxes as it is not UV safe for all of
eternity.
This is all the paint I use—most
of the color in my work is the flash glass itself.
One
reason there is a lot of color in each section of my pictures is that the flash
glass is layered--sometimes up to 5 pieces deep. Some of the faces I’ve made have used a layer
of blue on clear flash, a layer of brown on clear, pink on clear, and red on
clear. There’s no particular
predetermined order—just what looks good.
Now
regarding this procedure: 1. sandblast 2. engrave, 3. file 4. paint: I
almost always go back and repeat many of these stages several times.
Sometimes I engrave into the fired paint. Until satisfaction is
attained...or I give up the fight.
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| Top: Blue flash glass, sandblasted and engraved. Bottom, Red flash glass, sandblasted, engraved, vitreous paint (stencil black #1059 Reusche) |
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| All the blue pieces for the entire piece. Sandblasted and engraved. The pink is cold paint. |
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| All the red pieces (plus the blue lion), sandblasted, engraved, filed, vitreous paint (stencil black #1059 Reusche), silverstain #3 |
