Monthly Archives: April 2015


A very quiet and meditative method of glass engraving that suits some people at some times. There is no rush or you stuff it, and finished you are exhausted in a relaxed way. I really love the lightness of touch on the glass, a mystical mysterious experience only for those quiet enough to enjoy it.
The orchid on a wine goblet engraved above. Very difficult to photograph because of reflections. It is a very subtle method of working.
“Gums” crystal flute that was a melbourne market product from 1997. Great way to practice drill skills. Diamond and small stone burrs, stamens diamond point.


Mixed media, mixed mythology and I guess mixed message. Because the kiln isn’t wired I was using what I had, and I’m learning about the stone. Putting the two together is another story altogether.
All ready to wax the stone, trying a bees wax furniture polish. Pre warmed the stone.
A lot of the cream taken away. At this point I’ll start on the figure which will be 3d as well as shaded. From the back the outline in silhouette style is clearly visible. The colours match the stone fairly well.
Starting to cut away the cream layer to reveal the blue underneath. It’s fairly thick, about 3 mm, so it is reeally a cameo in the relief carving style.
The piece of glass that will finally fit into the groove shown in the plasticine model. It is fused cream opaque over transparent steel blue. Because the kiln isn’t wired I’m using what I have available.
Getting into it. Some of the deeper internal type areas were cut in with tungsten carbide burrs in the Foredom flexdrive. Still fairly slow and very messy. Cuts OK with a chisel though I’m scared of breaking it along its natural split lines. Rasps work fine but slow and my shoulders ache, files smooth it beautifully. I carve in a “direct” style, working some of it out as I go. Following natural character of the stone.
The stone. Siltstone again. Silver grey that will darken when polished and sealed. About 20 cms tall. Some rough cutting with a diamond saw and roughing with diamond sanding discs. A hell of a lot of dust and I wear a mask and face shield. Not good for clothes lines, the car or neighbours.
First stage. Although ideas can be drawn I find a 3d play easier. I think a fair bit with my hands and the light effect are better sorted this way. Plasticine is terrific.


The work table ready for a new adventure. I’ve thought about printmaking from glass plates for a long time. Tried a few basic experiments over the last few years and got together basic equipment.
Using a pin press and diamond burr I’m using the point or line technique made popular in Britain in a revival of glass engraving based around the Guild of Glass Engravers. I’m using a solid little easel type, head magnifieers,and black cloth under so I can see the work. There’s reference print books as well as a chinese painting book that I copied the image from. It’s hard to get a good work light, essential, so I have a shed light, 100w, that is clamped to a camera tripod until I make a proper stand for it.
The plate looks terrific. I really enjoyed this part of it, slow and meditative, and I love the play of light on clear glass. If I want to I can use the drill to make up solid dark blocks.
The plate inked up. Now you can see the dark that before was light. Surprising how much detail is picked out by the ink.
My print. A hell of a mess, and I hated working with the ink. Thinned it down with plate ink, soaked the paper, and used a speedball hand barren thing. Over all I think the paper is too coarse and I need a press for the fine line type. Like an etching. Maybe a sharper darker ink, not a soft black. I’m really not sure I want to do this, just to prove it can be done. Maybe if I read up a bit more and go for a broader style that will hand print better I can have another go later.