Engraving on large planes of glass

«Happy is the one who does what he loves. And doubly happy is the one who dedicated himself not out of necessity, but because he decided so himself.»

Andrew Matthews

Glass engraving. The beginning

I (Vladimir Makovetsky) started engraving glass in 1982 at the Leningrad Art Glass Factory. The first few years were the years of mastering the basic techniques of classic machine engraving. The very process of glass carving turned out to be so exciting for me that it gradually replaced all past hobbies from my life. In fact, he turned his whole life upside down! However, it was still far from creative work.

glass engraving process
Гравировка стекла в процессе
The classic method of engraving glass on a machine.
Fig.01 - The classical method of glass engraving

The classical glass engraving method

The classical method of glass engraving dates back several centuries and is still used by many artists around the world. The basic principle is that the product is in the hands of the master, and he brings it from below, from the side, at an angle to the cutting tool – a copper circle with a suspension of abrasive powder or a circle with a diamond layer (Fig. 01).

Having dedicated yourself to this method of engraving, you must be prepared in advance for the great difficulties of its development.

Steadily develop the technique to virtuosity

It is very difficult to reach a level where the technical side of the skill of work allows the maximum fulfillment of everything conceived by the author, it is only possible to achieve this through many years of practice.

P.P. Chistyakov wrote: “Technique is the language of the artist; develop it tirelessly to virtuosity. Without it, you will never be able to tell people your dreams, your experiences, the beauty you have seen.

At the same time, when using the techniques of classical engraving, there are a number of restrictions that the author has to reckon with when considering the next work. First of all, this is the weight and size of the object to be worked on.

The classical method of engraving on glass with rubber rods

For a long time I fought with a lot of weight with the help of rubber rods – suspensions. Although they slightly restrict the movements of the hands with the product, they perform the main task – they compensate for the weight. Having come to the use of rubber hangers, I engraved even small objects with their help, so the accuracy of movements increases (Fig. 02, 03).
The classic method of glass engraving on a machine.
Fig. 02 - The classic method of engraving glass on a machine using rubber rods to compensate for the weight
The classic method of glass engraving
Fig. 03 - The classical method of engraving glass on a machine with rubber rods

Engraving large objects

But the large dimensions of the object (for example – flat glass more than 40×40 cm) do not make it possible to engrave with the classical method on the machine. So when working with large flat glasses, you have to use a fundamentally different technique, engraving with a hand tool – using a motor with a flexible shaft, a drill.

Such work requires the organization of a completely different workspace. It is extremely important that it be as convenient as possible for work, thought out to the smallest detail, helping the author to translate his ideas into a work. Engraving “on the knee” is a dead end way. 

Starting in 2006, we gradually began to experiment with engraving on large planes and to this day the process of improvement continues.

Glass engraving technique using a flexible shaft motor

I would like to specially note that the engraving method, when the cutting tool is in the artist’s hand, is much easier to master than the classic one. So, you should not be afraid of difficulties, take advantage of the proposed experience and endless possibilities of self-realization will open before you.

I. Organization of the workspace. 
Required components.

Work table

1) Work table with plastic tray for water drain (Fig. 04, 05, 06).

Workplace for engraving large glass (sketch)
Fig. 04 - Workplace for engraving large glass (sketch)
Photo of a workplace for engraving large sheets of glass
Fig. 05 - Photo of a workplace for engraving large sheets of glass.
workplace for glass engraving
Fig. 06 - The snapshot of a workplace for engraving large glass surfaces (reverse side)

Water supply to the working area

2) Although the amount of glass slurry during engraving is not so great, the drain system should be equipped with an overflow sump (Fig. 07).  →
container for supplying water to the working area
Fig. 08 - Tank for supplying water to the engraving working area.
3) Water supply to the engraving working area is organized from an additional container, approximately 40 liters, by gravity through a plastic flexible tube (diameter 5 – 8 mm), equipped with a tap, preferably glass, ground. To fill the container, cold and hot water is supplied to it, thus it is possible to maintain a comfortable temperature for work (Fig. 08).
4) The design, which allows water to be supplied to any place of the working area required at the moment, is easily made from a 2 – 3-part frame of a table electric lamp (Fig. 09, 10, 11).
overflow sump for filtering glass sludge
Fig. 07 - Overflow sump for glass sludge
system for supplying water to the working area
Fig. 09 - Water supply system to the working area
water supply system to the working area
Fig. 10 - Water supply system to the working area.
water supply system to the working area for engraving large sheets of glass
Fig. 11 - Water supply system to the working area of glass engraving

The system of support rods (pipes)

5) The system of support rods (pipes), attached to the table itself, or to the ceiling above the table, allowing the glass to be processed at an angle, is convenient for engraving in front of the artist’s face. 

There are 4 longitudinal rods (crossbars) in total running along the work table (Fig. 04, 12).

Support rod system for large glass engraving
Fig. 12 - Support rod system for engraving large glass
Workplace for engraving large glass (sketch)
Fig. 04 - Workstation for engraving large glass panes

Rod 1 (rear) – used for hanging light plastic (polypropylene) shields on hooks – splash protection; 
Rod 2 – for hanging on the hooks of the mirror sheet, which is necessary for the constant control of all stages of the engraving process;
Rod 3 – a support rod for placing a structure (frames, bars) on which the processed glass, mirror is installed. By changing the location of this rod, you can change the slope of the structure;
Rod 4 – serves exclusively for hanging the working tool and all kinds of small things accompanying the work.

All 4 rods are easily assembled from a system of nickel-plated pipes (diameter 25 mm, sold in lengths of 3, 1.5, 0.5 m) and various fasteners. The Jocker system is sold in all construction supermarkets around the world. Longitudinal rods should be able to adjust the position across the table, closer – farther from the working point (Fig. 13, 14).
rods (pipes) for the workstation of the glass engraver
Fig. 13 - rods (pipes) for the work place of the glass engraver
structure for fastening rods (pipes) for the glass engraver workplace
Fig. 14 - structure for the installation of support rods

Support system (armrests)

reliable sturdy armrests
Fig. 16 - The armrest supports

6) Support system – armrests for the arms. The structure of the armrest supports must be rigid and not tied directly to the work table. Design solutions can be different. We use a spacer support system. Each of them is equipped with a powerful spacer bolt that moves the upper and lower parts of the support (spacer to the floor and ceiling) and a system of removable clips for shelves (armrests). With the help of such a device, the height of the armrests is changed within 40 cm. Up – down (Fig. 15, 16, 17, 18,).

armrests console
Fig. 15 - Console for armrests
rests
Fig. 17 - Vertical spacer support
support bolt
Fig. 18 - Expansion spacer bolt

Lighting of the engraver’s workplace

7) Light. The system for supplying light to the working area of the engraving (on the back of the glass) consists of a longitudinal beam (40×50 mm) along the entire table and pallets with several attachment points for 2 – 3 composite lamps. This design of the lamps themselves (no matter fluorescent or LED) allows you to conveniently illuminate the glass from the back side in the entire area accessible for engraving (Fig. 19). 

In parallel with the presence of lamps for backlighting glass, lamps are needed for end-illumination of the workpiece. A waterproof LED strip installed in a U-shaped plastic profile from an electrical cable channel is ideal for this purpose.

backlighting of the working area
Fig. 19 - Illumination of the working area of glass engraving
side light for glass engraving
Fig. 20 - Side light for glass engraving
Two of these lamps are put on the right and left opposite the engraving area directly on the polished glass ends. With this side illumination, selected when carving, the relief is read very clearly, down to the smallest detail. These two LED luminaires are powered separately through a special power supply equipped with a dimmer to change the brightness of the glow (Fig. 20, 21).
led strip for side lighting of glass engraving
Fig. 21 - Side light for engraving on the glass

Auxiliary mirror

8) Auxiliary mirror. Directly behind the processed glass, on the rod No. 2, a mirror is suspended. It helps a lot to constantly monitor the engraving process. On the outside of the glass you can see the cut out counter-relief, and in the mirror there is a convex (on you) relief (Fig. 22, 23, 24).
reflection in the mirror to control the glass engraving
Fig. 24 - Reflection of engraving in a mirror
mirror in which the engraving on the glass is reflected
Fig. 22 - Mirror to control the glass engraving process
mirror for observing the engraving process
Fig. 23 - Glass engraving mirror

Seat

glass engraving seat
Fig. 25 - Сhair for glass engraving

9). Seat. Any sturdy, stable chair with a set of 5 cm thick “cushions” is suitable. Structural foam pads make it easy to change the height of the seat following the vertical lift of the armrest (Fig. 25, 26).

durable comfortable chair with cushions for glass engraving
Fig. 26 - Sturdy comfortable chair with cushions for glass engraving

Glass Engraving Work Tool

10). Work tool. 

The main link in such a glass engraving scheme is a good motor with a flexible shaft. There are a lot of options for such a tool on the market today. Proven and reliable is the American “Foredom”.

It is important that it is the original and not the Chinese counterpart. We do not recommend such analogs, also produced in China under the Foredom brand, for continuous work.

There are several nuances – when buying, you need to check the originality of the kit. In addition to the motor itself, it also includes a flexible shaft, a pedal with a speed controller and a 3-cam tip. 

It is especially worth paying attention to the operation of the pedal, when engraving it is extremely important to have a minimum shaft rotation speed, the pedal must provide it. The presence of such a speed is more important than maximum, since it allows you to accurately smooth the surface of the selected relief. If it is necessary to smooth large surfaces, you should purchase a shaft speed regulator with a rheostat (Fig. 27, 28).

glass engraving kit: motor, flexible shaft, pedal and handpiece
Fig. 27 - Glass engraving kit: motor, flexible shaft, pedal and tip
shaft speed regulator with rheostat
Fig. 28 - Shaft speed regulator with rheostat
American three-jaw tip
Fig. 29 - Original three-jaw tip
three-jaw tip from china
Fig. 30 - Chinese counterpart
It should be emphasized that the Chinese analogue, which costs half the price of the American one, can be used as a good option for amateur short-term work. These considerations – the original or an analogue, relate specifically to the set of the motor, flexible shaft, pedal
But the tips into which the working tool is fixed, today the Chinese make quite well, they cost almost 5-6 times cheaper than the original American ones (as of June 2020). With initial lubrication, in rare cases of minimal fit (burrs) and regular maintenance lubrication during operation, they last just as long.

3-jaw tip. Suitable for setting larger (heavy) diamond wheels up to 50 mm in diameter. and a thickness of 10 mm., many polishing wheels (Fig. 29, 30). 

Collet tip. It is very lightweight, suitable for setting a range of small diamond wheels (Fig. 31, 32).

In most cases, tips (especially collet) should be considered as a whole with each specific diamond disc. The disc (circle) is installed on the disc holder, clamped into the collet of the tip, sharpened and no longer removed from it. Even if the disc (circle) itself becomes unusable, it can be re-soldered onto a new one without removing it from the collet and re-welded. Actually, the collet itself in the process of work, if it is not used directly for its intended purpose, very quickly “sticks” and the disc holder is no longer removed from it. 

So 1 diamond disc (circle) = 1 collet.

collet for glass engraving made in the USA
Fig. 31 - American collet
collet for glass engraving made in China
Fig. 32 - Chinese counterpart

We often leave the 3-cam tips used for operating large-diameter diamond discs (wheels) non-removable, the blown-in disc (wheel) remains there permanently. At the same time, part of the 3 cam tips, used as removable ones, remains in the tool set. Disc holders with abrasive rubbers or polishing wheels are placed alternately on them, if necessary.

In such cases, the tip must be marked with a countersink directly on the chuck. After the inflow of a polishing or abrasive wheel, a mark is also placed on its disc holder. Accordingly, with each new setting of the disc on the tip, both marks are aligned. If the disc holder and chuck jaws are kept clean, ideal (primary) alignment is ensured and, accordingly, the disc (circle) rotates without a fight. 

In the process of work, depending on its intensity, it is imperative to carry out preventive lubrication of the bearings of the handpieces and the flexible sleeve with thick and liquid lubricants. Especially if the work is carried out vertically (more precisely at a slight angle from the vertical) supplied glasses. In this case, water will inevitably enter the tip itself and there is a high probability of its penetration into the tip onto the bearing. Both types of handpieces are periodically replaced if necessary.

glass engraving motor mount
Fig. 33 - Glass engraving motor mount
The “Foredom” motor itself with a flexible shaft is suspended to the right of the workplace on the bar No. 4 using steel hooks made of wire with a cross section of at least 4 mm. Such hooks should be of many different lengths, using them you can easily change the height of the motor suspension avoiding critical bending of the flexible shaft (Fig. 33).
An additional working tool is a set of several of the smallest “engravers” “Proxxon”. It is desirable to have one powerful power supply unit with adjustable shaft rotation speed and a splitter for several simultaneously connected “engravers” (the power supply unit and splitter must be searched in the Proxxon catalog (Fig. 34, 35, 36).
small motor and drill type engraving tool
Fig. 34 - A small "engraver" with a power supply
power supply for glass engraving tool
Fig.35 - Power sockets block for engraver

In my opinion, this “engraver” is the best addition to the powerful “Foredom” and allows you to work on the smallest details. 

Each of the “engravers” of the set is equipped with diamond tips with a diameter of 1 balls; 1.4; 1.8; 2 mm. These dental burs, made by the method of electroplating a diamond layer, are purely consumable and they do not last long. The market sells burs marked with stripes of different colors – yellow, red, blue, green, depending on the size of the applied diamond grains.

I use burs with a red mark, on which the grains are small and in the process of work do not “scree” along the edge of the track. Burs with a yellow mark have an even finer grain, but they are rarely bought.

Such burs are not subject to sharpening, it is necessary, when setting on the “engraver”, to carefully consider the “move” of the bur and several times removing and re-installing it in a different position to achieve the absence of a fight.
It is very convenient when to the right of the workplace hangs a set of “engravers” with burs of different diameters, ready to work at any time (Fig. 37).
power supply for engraving tool side view
Fig. 36 - Block of sockets for connecting several "engravers"
a set of small engraving tools to the right of the engraved glass
Fig. 37 - A set of small engraving tools to the right of the engraved glass
rotating stand for replaceable engraver bits
Fig. 38 - stand for tips

Rack for replaceable nibs

11) Rack for replacement tips. 

There can be many options for storing replacement tips with diamond wheels, we tested several and eventually settled on a vertical rotating stand set on wheels. It can be made on the basis of a high turnsette for ceramists (Fig. 38, 39, 40, 41). Installed on the left, in the immediate vicinity of the workplace.

rotating stand for replaceable engraver bits
Fig. 39 - Rack with replaceable attachments
Replacement tips for glass engraving
Fig. 40 - Engraving tips
set of replacement attachments for glass engraving
Fig. 41 - Stand with replaceable attachments for glass engraving
grinding wheels
Fig. 42 - Lapi series discs of the Czech company PolPur
grinding and polishing wheels
Fig. 43 - Rubber abrasive wheels "Medpolymer"
Tool like a dental drill is used to engrave glass
Fig. 44 - Fine engraving of glass

Basic and additional equipment.

12) System of main and additional abrasive wheels for engraving.

I use in most cases 2 types of diamond grains. It should be noted that in Russia the classification standards differ from European and American ones. In Russia, the Standard is GOST. In Europe, the standard is FEPA.

Grain М 315/250 microns – very large, visually visible on the surface of the circle, corresponds to the European classification F 50/60. Such a tool, literally gnawing at the glass, allows you to quickly select the desired volume, create the desired relief of the picture. The surface after applying such circles is very rough, sparkling in some cases is self-sufficient. 

And grain M 63/50 microns is the main type of grain in diamond tools used in glass engraving, this corresponds to F 230/270 in Europe. If necessary, the volume quickly selected by a coarse disc has to be repeated with a disc (of the same diameter) with a 63/50 grain to change the surface texture.

In addition to diamond disks, which form the required relief of the pattern, during work, circles of various materials are used, carrying abrasive grains of different sizes in their structure.

Such rigs include circles of the Lapi series of the Czech company PolPur (purple, orange, green, black, blue, brown, white). The use of these circles allows you to consistently change the texture of the surface up to polished. And rubber abrasive wheels produced by Medpolymer (Fig. 42, 43, 44).

Thus, using a full set of rigs, the artist can not only cut the necessary relief in the glass, but also, if desired, apply a wide palette of surface textures.

In the process of mastering the technique of working with drills, organizing and improving the workspace, in addition to its main components, seemingly insignificant, but very important decisions are constantly being born. So when working with circles of large diameters (30 – 50 mm), the uncontrolled discharge of water from the surface of the circle turned out to be a serious problem. Splashes fly in all directions, including in the face. The problem was solved surprisingly simply – a bracket is installed on the tip and, if necessary, a transparent protective shield is attached to it (Fig. 45, 46).
bracket for attaching the protective shield mounted on the glass engraving tool
Fig. 45 - Bracket for attaching the splash guard to the glass engraving tip
splashes of water protection
Fig. 46 - Splash guard installed on the tip

Useful little things

A lot of such important little things have already accumulated. So when working on the Landscape seam with dimensions 1600 x 1400 mm, due to the complexity of the work in the upper part of such a large glass, we had to look for new solutions. As a result, the glass was moved forward from the pan and lowered down onto an additional shelf with a narrow pan for collecting water. The pallet is made of a 200 x 60 mm flat ventilation duct. The upper area of the glass has become quite accessible (Fig. 47,48). 

From this mass of little things, a feeling of comfort in work is created.

I would like to emphasize once again the importance of careful organization of the engraving process down to the smallest nuances. This process itself must be well mastered by the author, and only in this case he will not have problems with the implementation of his ideas.

glass engraving ''landscape''
Fig. 47 - Work on the engraving on the glass canvas "Landscape". Installing a water pan.
engravedmirror
Fig. 48 - Using the same water pan when working with an engraved mirror

II.Process of work

Markup

Engraving begins with a very important stage – marking the design of the composition on the product. The seriousness of this moment is evidenced by the fact that a real Master will never work according to someone else’s markup.
We prepare working drawings on lavsan tracing paper, it is the most reliable and is not afraid of water. The tracing paper with the drawing of the composition is fixed on the surface of the glass with paper tape together with the copy paper placed under it and the drawing is pressed onto the glass with a sharpened pencil (Fig. 49, 50).
With a side illumination with a lamp, the trace on the surface is clearly visible; now it remains to carefully circle it with the help of an “engraver” with a diamond bur.
marking on the glass before engraving
Fig. 49 - Drawing a pattern on the glass before engraving
marking on glass using lavsan tracing paper
Fig. 50 - Applying markings on glass using lavsan tracing paper
The smallest engraver “Proxxon” with the “Flame” diamond bur installed on it (Fig. 51, 52, 53) is well suited for this purpose.
fine bur for glass engraving
Fig. 51 - The smallest Proxxon engraver with a diamond bur
diamond bur for manicure
Fig. 52 - diamond manicure bur (adjustable for glass engraving)
special sharpening diamond bur for engraving
Fig. 53 - Special sharpening of a bur on an emery stone for glass engraving (marking)
The bur is ground on a fine-grained emery stone in such a way as to create a flat area at the end of the bur. Its edge is the drawing element. For marking, it is best to use diamond burs with a red or yellow mark, i.e. with fine grain.
Artist making markup on the glass with a diamond bur before engraving
Fig. 54 - The artist uses a diamond bur to mark the glass before engraving
markup on the glass before engraving
Fig. 55 - Marking on glass before engraving

The trace from the diamond bur should be as thin as possible and not deep, not disturbing the silhouette of the drawing. In cases where the accuracy of the silhouette is especially important, for example, when performing portrait engraving, it is better to draw the marking line with a slight lead, 0.5 mm, inside the silhouette. Thus, it is easier to get a clean edge of the selected relief without leaving any markings (Fig. 54, 55, 56).

Artist making markup on the glass before engraving
Fig. 56 - Marking before glass engraving

Construction of volumes

Starting directly to work with the construction of volumes, it is necessary to thoroughly think over the sequence of sampling fragments of the drawing in depth.

It is necessary to start with distant shots with a minimum sample, while using circles of the largest possible diameter. The volume rolls out far below the next one planned in order. With a finely sharpened hard pencil, the next stage is marked, a set is made, etc. each time with smaller and smaller circles (Fig. 57-69).

We have prepared several collections of photographs under the general title “Metamorphoses”, illustrating the gradual selection of volumes during engraving. These collections can serve as a tutorial for aspiring artists.

They can be viewed on our website (glass-engraver.ru) and our Facebook page.

Fig. 57- 69

engraved textures
Fig. 70 - Ornament with various types of textures. Fragment of engraving on the glass

Creating textures when engraving glass

Using a tool with different grain sizes, both diamond and rubber abrasive and polishing, it is possible to change the surface texture on the fragments of the engraving. The palette can be from sparkling from coarse diamond grain to semi-polished and polished with rubber abrasive and polishing wheels (Fig. 70, 71, 72, 73, 74).
engraving of various textures
Fig. 71 - Removing volumes with a rough texture and applied markings for the next layer
different types of textures engraved on glass
Fig. 72 - Different types of textures of the winter forest when engraving on glass
different surface textures when engraving glass
Fig. 73 - Textures of water, sparkling ice and snow engraved on glass
engraving of various textures on the glass
Fig. 74 - Matte and mirror glossy textures. Glass engraving

Expansion of the texture palette when engraving glass

The palette considerably expands the work with sharply sharpened scarpels of different diameters and a rough diamond saw (Fig. 75, 76, 77).
textures engraved on the glass with a diamond saw
Fig. 75 - Glass engraving with a diamond saw
textures engraved on the glass
Fig. 76 - Unusual texture of engraved glass
textures engraved on glass with a scarpel and a diamond saw
Fig. 77 - Etched optical glass. Art object "Prayer"

Glass engraving method “punching out” (pointillism)

The wider the palette available to the artist, the more picturesque and sophisticated the matte glass engraving becomes. 

The technique of engraving on glass with a diamond tip or today a finely sharpened point of a hard-alloy scarpel has been known since ancient times – English (Dutch) pointillism on glass.

We called our approach the “punching out”. Scarpels and a light hammer hit the surface of the glass with tiny dots and rough, glittering chips, which enhance the contrast when conceived by the artist (Fig. 78, 79, 80, 81).

pointillism as a glass engraving technology
Fig. 78 - Pointillism ("punching out") in the work "Show" - engraved glass for the Anniversary of the Circus
pointillism as a technology of engraving
Fig. 79 - The artist engraves glass using the "punch-out" method
pointillism as an engraving technology
Fig. 80 - Surface texture made by punch-out method
pointillism in glass engraving
Fig. 81 - Increase the glitter effect by the "punch-out" method
protective box against splinters when engraving glass using pointillism when folded
Fig. 82 - Folded glass splinter box for glass engraving by punching method
For “punching out” the glass is placed on a bed of porous rubber, located in a box protected from fragments from 3 sides by a polyethylene film. The collapsible and assembled box does not interfere with other work. The sheets of foil can be lowered easily and create an enclosed space. Work is carried out necessarily in a mask, a vacuum cleaner should be at hand. Even tungsten carbide skarpels become blunt rather quickly and have to be sharpened with a carborundum wheel at low speed (Fig. 82, 83, 84, 85)
protection against fragments glass engraving
Fig. 83 - Deployment of the protective box for glass engraving using the "punch-out" method
protection against splinters when working with pointillism when engraving glass
Fig. 84 - Partial opening of the protective cover against fragments when engraving glass
Protective box against splinters when engraving glass with pointillism in the unfolded state. The artist works inside
Fig. 85 - Fully unfolded protective box against splinters when engraving glass using the "punch-out" method (pointillism). The artist works inside

Using a diamond saw blade to engrave glass

Using a diamond saw when engraving gives very interesting effects that can be used in creating a composition. Deep, wide cuts, sometimes through, are best done with a coarse saw with a 2 mm blade. The work uses a Flex grinder with water supply. It is suspended by means of a weight-compensating rubber rod on the bar 3. A plastic shield protects against splashes (Fig. 86, 87, 88, 89).
glass sculpture - the work of an artist with a diamond saw
Fig. 86 - Glass sculpture - the work of an artist with a diamond saw
Using a diamond saw when engraving glass
Fig. 87 - Using a diamond saw when engraving glass
Unusual texture on glass created with a diamond saw
Fig. 89 - Unusual texture on glass created with a diamond saw
glass engraving made with a diamond saw
Fig. 88 - Glass engraving by diamond saw

Making test specimens of glass engraving

Despite many years of experience, we begin each serious project with a detailed thought of the work plan and, as a rule, the manufacture of a series of probes. 

So for a fragment of large glass in the bedroom with Cupid, it was necessary to find the texture of the curtain in the background, a fundamental solution to the figure and smoke from the katsea (Fig. 90, 91, 92).

A test sample of engraving on glass. Options for the texture of fabric for curtains
Fig. 91 - Glass engraving test sample. Options for the texture of fabric for curtains
engraving on glass with fabric texture
Fig. 90 - Engraved glass (detail). In the background, the texture of the fabric (curtain)
Glass engraving step by step - creating different shapes and textures
Fig. 92 - Glass engraving step by step: creating different shapes and textures

While working on the “Landscape” panel (Fig. 93), we had to solve a lot of new problems for ourselves and, accordingly, make a whole series of probes. Here is some of them. 

Samples for engraving winter fir trees (Fig. 94, 95, 96).

Engraved glass panel "The landscape"
Fig. 93 - Engraved glass panel "Landscape"
Engraving on glass: winter spruce
Fig. 94 - Trial engraving on glass: winter spruce
The winter spruce - engraving on a glass
Fig. 95 - Winter spruce. Trial engraving on glass. Snow textures and mountain peaks.
Light passes through the winter spruce - glass engraving option
Fig. 96 - Light passes through winter spruce - glass engraving option
Engraved glass. Water texture. Cold river
Fig. 97 - Trial engraving of cold water using the scraping technique
Or probes on the surface of a cold winter river. At first they tried to apply the engraving technique by scratching with thin scarpels, but as a result they switched to working with rubber abrasive wheels (Fig. 97, 98, 99).
Engraved glass - a test piece with the texture of a cold river engraving
Fig. 98 - Engraved Glass. Ice River Engraving Probe
Engraved glass. Cold river water texture.
Fig. 99 - Engraved glass. The texture of cold river water

With this focus on probes for almost every job, we are solving multiple problems at once. On the one hand, this is making the right decision in the technique of performing a fragment of the main work, on the other hand, it is the creation in the workshop of a large collection of diverse probes, even such seemingly small ones. They can be the basis for future work (Fig. 100, 101, 102, 103).

Engraved glass - trial version
Fig. 100 - Test piece of engraved glass
engraved glass - test piece
Fig. 101 - Engraved glass test sample
fragment of engraved glass - trial copy
Fig. 102 - Fragment of engraved glass. Probe
engraved glass - test piece
Fig. 103 - Probe for building the volumes of the drawing

We hope the technique that we have outlined here can help a young artist in mastering the skills of engraving, express his ideas most fully and vividly, and express himself.

Engraving on large planes of glass
water supply system to the working area for engraving large sheets of glass
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