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Barbara Norman - Engraving and Decorating Glass: Methods and Techniques

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Barbara Norman Engraving and Decorating Glass: Methods and Techniques
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    Engraving and Decorating Glass: Methods and Techniques
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Engraving and Decorating Glass: Methods and Techniques: summary, description and annotation

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The history of glass and glass decoration extends back at least to the ancient Egyptians, who made small vessels of dark glass and decorated them with glass threads of contrasting colors. Occasionally glass vessels were also engraved on the lapidarys wheel. Today, the ancient art and craft of decorating glass continues to flourish among artists and crafters attracted by its combination of artistic beauty and skilled craftsmanship. Unfortunately, until the publication of this book, there were few if any practical instruction guides for beginners in this exciting and deeply rewarding field.
A well-known British artist and glass engraver, Barbara Norman has exhibited her glass widely and has won numerous awards. In this clear, profusely illustrated guide, she offers a comprehensive introduction to the history, materials, tools, and techniques of glass engraving and other forms of glass decoration.
After introductory chapters on the development of glass, methods of glassmaking, decorating techniques and choosing glass, the author discusses various engraving techniques in detail: diamond point engraving, drill engraving, and copper-wheel engraving. Aspiring glasscrafters will also find excellent coverage of such interesting techniques as gold engraving under glass, painting glass, and applying glass to glass: mosaics, glass collage, glass fusing and glass forming. Most of the methods do not require a studio or workshop and call for relatively inexpensive materials.
Ideal for the novice or moderately experienced glassworker, this well-written, easy-to-follow guide will enable glasscrafters to bring decorative beauty and artistic flair to glasses, tumblers, bowls, vases, plates almost any glass object. Beautiful engraved or decorated glass is perfect for personalized gift-giving or for adding a note of elegance to any home.

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Table of Contents Acknowledgments I should like to record my thanks to - photo 1
Table of Contents

Acknowledgments

I should like to record my thanks to the many people who have so willingly given me help while writing this book. I am particularly grateful to Desmond Hawkins who has written the foreword, and without whose help the book would never have been undertaken.

Mrs Claire Rome provided information about diamond tools and gave photographs of her own diamond point engraving. Mrs Edith Bry, of New York City, supplied helpful advice in connection with fused glass, and gave photographs of her work. Peter Dreiser was unsparing of his time and knowledge on the subject of copper wheel engraving, and his own photographs illustrate that chapter. Roy Youngs, Senior Technical Instructor, Department of Light Transmission & Projection at the Royal College of Art, supplied technical information. Mr W. Leask of Sidmouth gave useful information on his method of making pictures with gold leaf and black enamel.

I am grateful to the Glass Manufacturers Federation for the use of their library, and for the help given by the Federations Librarian, Miss Lewis. The Research Staff at Bourne Hall Library, Ewell, also supplied valuable material.

Finally, my thanks are due to John Green who helped with the illustrations and took the photographs of my own work.

APPENDIX
Engraving Tools and Methods
DIAMOND POINT ENGRAVING

TYPICAL DIAMOND TOOLS

(photographs 1, 2, 3, 4, 5, 6)

SUGGESTED METHODS OF WORK

Work under whatever conditions suit you best. The only essential thing is to have a good light, properly placed. Having ensured that, whether you hold the glass in your lap, or work on a table, depends entirely upon your preference.

Whether you intend to do a line engraving or to work in stipple, or in a combination of both, the first step is to make a detailed drawing of the design. This is most effectively done by using a white chalk pencil on black paper as you can then follow exactly what is to be engraved (the light areas), and what is to be left untouched (the dark areas). (photograph 7)

The next step for either method of engraving is to draw the design on the glass. This may either be done with an appropriate pencil, or with a fine brush and poster paint.

(photograph 8)

1 Left to right Lunzer Lancer chip of industrial diamond polished and - photo 2

(1) Left to right Lunzer Lancer; chip of industrial diamond; polished and lapped diamond tip; writing diamond; tungsten carbide point, mounted; tungsten carbide point for mounting in clutch holder

24 Enlargements Left to right Lunzer Lancer 90 point chip of industrial - photo 3

(24) Enlargements, Left to right Lunzer Lancer 90 point; chip of industrial diamond with various cutting edges; polished and lapped diamond tip which can be resharpened

56 Left to right writing diamond chip of industrial diamond mounted - photo 4
56 Left to right writing diamond chip of industrial diamond mounted - photo 5

(56) Left to right writing diamond (chip of industrial diamond); mounted tungsten carbide tip

7 Working drawing for engraving 8 Drawing the design on the glass - photo 6

(7) Working drawing for engraving

8 Drawing the design on the glass Next use a fine tool and engrave the - photo 7

(8) Drawing the design on the glass

Next, use a fine tool and engrave the outline. Then fill in the engraving. In the example shown (the iris) this is done by stippling fine dots. (photographs 9 and 10)

If the work is to be a line engraving, the working drawing does not differ in style from that used in stipple engraving. Draw the design on the glass; outline with a fine tool and then fill in by means of fine lines of varying lengths.

(photographs 11 and 12)

DRILL ENGRAVING

SOME TYPICAL TOOLS

(photographs 13, 14, 15)

SUGGESTED METHODS OF WORK

Make a black and white drawing of the design; then draw the design on the glass.

(photograph 16)

The engraving is then filled in and completed by means of the drill, using whichever grinding point you choose. Diamond points make sharper marks. Hold the drill to the glass as shown in the photograph. (photograph 17)

COPPER WHEEL ENGRAVING by Peter Dreiser

To give a step by step description of how to engrave a piece of glass I have to go back to the days when I myself was a beginner at the glass school in Rheinbach. Having practiced the craft now for so many years the technical side becomes a habit, and one does not think any more when to change the wheel, at what speed it should run or what grade of abrasive to use. It comes automatically.

9 Enlargement of stipple engraving 10 Filling in the design 11 - photo 8

(9) Enlargement of stipple engraving

10 Filling in the design 11 Working drawing for line engraving - photo 9

(10) Filling in the design

11 Working drawing for line engraving 12 Enlargement of line engraving - photo 10

(11) Working drawing for line engraving

12 Enlargement of line engraving 13 An electric hand drill 1415 - photo 11

(12) Enlargement of line engraving

13 An electric hand drill 1415 Enlargements Left to right carborundum - photo 12

(13) An electric hand drill

1415 Enlargements Left to right carborundum grinding point a useful - photo 13

(1415) Enlargements Left to right carborundum grinding point; a useful diamond-tipped grinding point

16 Above Working drawing for drill engraving 17 below Working with an - photo 14
16 Above Working drawing for drill engraving 17 below Working with an - photo 15

(16) Above Working drawing for drill engraving; (17) below Working with an electric drill

Technically, the quality of the glass does not matter a great deal; any glass will do but a lead crystal glass is softer to work on than, for instance, a wine bottle. Lets take an ordinary tumbler, available in many qualities, machine or hand made. Presuming you have your lathe and motor correctly mounted, lets now start on an adventure which I have never regretted.

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