A rubber resist is applied to the glass which is then hand cut along traced lines with an X-Acto 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.
Many kiln processes are used. These include powder painting, glass painting, fusing, slumping and combining techniques.
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.
Creating structures for piece is inherent in the development of each piece. Current sculptures use plasma cut, hand formed metal.
Framed pieces were planned at the beginning to become integral to the art. The structure or frame had to allow for glass, depth, layers, inclusions, lighting.