LESLEYPYKE
Glass Engraver/Artist
"Glass Engraving" by Lesley Pyke
This is an article I was recently asked to write for the September 2006 issue of the Antique and Collectors Trader, to encourage more interest in the subject especially for those visiting the Cambridge Glass Fair.
Glass is extraordinary, illusive and baffling
as mediums go and having tried most artistic mediums I have been most
taken with this one for the last 22 years. Dating back to 3000BC it had
been formed by man to imitate precious stones. Much before that, however,
it was even created by metiorites landing in the desert. A layer of mysterious
green glass pieces covering the sand lead to this discovery.
However it was only around 1674 that George Ravenscroft introduced lead
oxide into the melt, afterwhich glass in general took on a new character
and excitement. Much softer and more brillient, lead crystal was created.
Engraving and cutting leapt into a new dimension with this new look and
feel.
Before I delve into all the techniques of glass engraving, I would like
to mention a little known fact about one pitfall for, on occasion, unsuspecting
engravers: The invisable stress line. Early years of glasswork involved
the entire forming and shaping of the glass by hand before anealing (slow
cooling). However nowadays, with modern disciplines, the glass is formed
and cooled before the rim has been smoothed. This process involves reheating
around the area near the rim and if the glass is not reanealed, the molecules
do not knit properly with the cool ones below and the stress is formed.
An engraver will easily detect this with a simple polaroid film set up,
and so may mark the area to be avoided.
There are many ways to engrave glass but to illustrate very basically,
imagine how a simple scratch on a glass can be so noticeable and irritating,
now imagine many organised scratches. The surface of the glass has been
roughened up and this catches the light. The more brillient the crystal,
the more the scratches will show.
Basic engraving of this nature is simply produced with a diamond or tungston
point, early Roman examples have been found. The design can be created
in small dots (stipple) or lines (linear), many engravers begin with this
method. Although this is time consuming many engravers use solely this
method.
Another very ancient process of engraving is copper wheel. Before electricity,
the lathe used to turn the abrasive coated wheels, was run by a foot pedal.
Here the glass is presented to the wheels. Lathes could have been used
as far back as 5000 years ago on artifacts made from other materials to
create seals for example. This way the glass can be deeply engraved (intaglio)
, relief engraving and cameo engraving, where colour overlays are removed.
The Portland vase being a good example of this. The most common copper
wheel engraving is the cut glass, geometrical designs, polished vessels
made in factories. Sadly the creative artists using this method are few
and far between today.
Sandblasting and etching (using hydrofloric acid) both require the area
of glass to remain untouched, to be masked off with a resist material.
Mainly used for commercial bulk orders and large scale pieces like doors
and windows, they are often used in conjunction with other methods.
So finally we come to my favourite, the drill. Widely used by most engravers,
it offers a huge range of effects, speed and efficiency. This technique
requires the glass to be held still whilst the drill is presented to its
surface. Drills can be cheap for the beginner, although they are suitable
for small projects only or they will overheat. But for regular and long
periods of engraving either a micromotor or flexible drive drills are
best suited, especially for intaglio, cameo and relief engraving where
great depth has to be achieved. Both used by dental technicians, they
are made for fairly heavy duty work.
Each has a handpiece which can take many different burrs
for all the effects you could wish for. Diamond coated burrs (in various
shapes, sizes and grades), stones (in various shapes, sizes and grades),
and rubber burrs (in various shapes, sizes and grades) and when they are
used at a variety of speeds, wet or dry, light or heavy pressure....not
to mention their ever changing shapes due to wear....you can imagine how
the possibilities are endless once you know how to combine them and manipulate
them. The engraver is forever experimenting and learning, I know I am,
after 22 years of professional engraving. This technique suits me perfectly
as I find I can produce the effects of all the other methods.
Whilst the glass is being removed by the drill it is creating much dust,
therefore a mask must be worn and if possible a dust extractor installed.
Use of water when engraving helps to minimise the dust and at the same
time lubricating and cooling enabling a cleaner cut. The eyes also require
protection, this usually doubles up as a magnifier preventing excess strain.
Lighting is essential to show up the engraving as is is very difficult
to see when wet. There are times when working on a large vessel that the
noise is quite deafening and so earplugs are necessary.
Books, videos , slides and lessons are available, even so, engravers will
often develop their own techniques, for example the way they hold the
glass or how they apply their water. I prefer to hold the glass in an
adaptable vice of my own design, leaving 2 hands free for best control
of the drill, others prefer to hold the glass in one hand so it can be
turned around more freely. Some have a drip feed system continually applying
drops of water on the area of engraving. Others, like myself, use a sponge
which I dip in water and onto a bar of soap so the water remains on the
surface that little bit longer.
Remember to be comfortable from the start, like the IT junky, I find I
engrave for far longer periods at a time than intended, without realising.
I have always said anyone can engrave glass. It is a transparent medium,
therefore one can trace a picture easily. When engraving on a decanter
for example, the image can be transfered with a waxy carbon. Otherwise
simply drawing it on with a felt tip pen or white crayon are alternatives.
For many years I drew and penned my own artwork, some of it taking longer
than the actual engraving. I kept everything on file for easy access in
case anyone broke a glass end wished to have a replacement. If I am engraving
more than one glass the same, printed artwork makes this easier. Nowadays
computers take the place of my pencil and calligraphy pen for most cases
and then of course it is saved on the computer. The computer offers the
option of sending the artwork for approval by email, or suggested layouts.
However when creating a masterpiece it is easier to
create straight onto the glass with a felt tip pen or even the drill itself.
Above all the engraver needs to adhere to the rules of good drawing, making
best use of the shape of the vessel so it is pleasing to the eye and ensuring
the techniques used are executed perfectly. After engraving is complete,
the engraver must sign and date the work then clean it with soap and water
and dry with a soft cloth. Finally a good photograph should be taken to
be placed in the engraver's portfolio or on their website, view mine at
www.lesleypyke.com. Display the finished piece with good lighting and
appropriate coloured background (usually dark) to contrast the engraving.
My last word is about the Guild of Glass Engravers. It was formed back
in 1975 by a small group of enthusiasts. Today it is a great source of
information and encouragement on the subject of Engraved Glass and whose
aim is to ensure glass engraving is peformed and perceived as best it
can. More information can be found at www.gge.org.uk,
we always welcome new members and you do not have to be an engraver.
