The work begins through photographs and drawings. They are reduced to a simple line sketch, rather than a detailed shaded sketch. The line sketch is suggestive while open enough for variation. A rubber resist is applied to the glass which is then hand cut along traced lines with an exacto or surgical knife.
Since this is often a reverse carving method, the areas which are viewed in greatest relief are carved first and deepest. In traditional sandblasting the use of resist controls the carving. In carving faces, a softer, sculptural appearance is desired; requiring more control with the nozzle and less through use of the resist. Although more challenging, it creates a softer, more sculptural appearance. The face comes to life through continual abrading and examining the glowing surface under the intense lights inside the dusty blasting cabinet.
Various types and thicknesses of glass are used. The glass can be recycled, purchased, float, kiln-fired. More recent pieces use colored kiln-fired layers of Bullseye glass 9mm and 12mm. The capabilities of enhanced hues and tones this beautiful glass provides highlights desired outcomes. Layering glass in the kiln for carving or for background layers is part of the process of some of the pieces.
Developing backgrounds and creating structures which embody each face is inherent in the development of each piece and its requirements. Media include fused frit-fired, etched and mirrored glass in addition to wood, metal and leds. When set in frames, the framing is planned at the beginning. It becomes an integral part of the art. The structure or frame has to allow for glass, depth, layers, inclusions, lighting.