As some of you may know or seen, the market place is awash with a number of “penguins”, “kissing couples” and the notorious “jumping dolphins” in 3D laser crystal.  We only say notorious because so many of these manufacturers produce their products from a “generic” CD distributed used as a startup kit for a number of these overseas government subsidized companies.

“In absence of creativity comes the mundane” is what I personally term this problem, for when I had started doing these designs only a handful of companies existed in the world and the designers (actually modelers) were hidden away forced to create butterflies, and dolphins.  The equipment isn’t inexpensive either, with new systems at the low-end selling for around $160,000 and a few for less but skimp on tolerances – you realize that a business needs to “produce” product to make its investment back – the nature of the beast.

When we had first started noticing this “trend” and warned clients of it, the status quo stated that “WE” have to compete with the lowest price, generic designed and fastest produced product.  Visions of cloned designs being stamped out this vast machine clouded my mind and I made a decision to not compromise the aesthetics of design simply for “profitability” or “market share” and left behind the promotional industry to start Sharpe Awards.

Each design we are asked to create provides an opportunity of reclaiming this art form as an art form and not simply a term used in mass production.  As a result, the designs that I create do take a considerable amount of time to “burn” when compared to the “jumping dolphins”.  Additionally, to punctuate this attention to detail we will make the crystal bigger, heavier, higher quality, and as a result more valuable.

Previsuals v.s. Reality

“Hey, this is a computer image” and you would be right.  Below is an example of one of one of our commercial “previsual” and the resultant creation.  It is my personal belief, that it is important to “see” the design before they were created, not only in the minds eye but to be able to share it with others.  Computers have helped achieve this and is now an extension of creativity and imagination.

The techniques and design of these products coupled with knowledge of sub-surface laser technology and over 300 “promotional” designs under my belt allows for the creation of these previsuals in a manner that consistently captures the refractive, reflective, and dimensional aspects in every design we do.

One interesting aspect of these previsuals, although we continue to fine-tune equipment and software as well as to do  designs completely representative of the laser capability, the laser produces an even better model – which is usually the opposite of what previsuals do.

Let me put it this way, if we weren’t completely confident that our designs would be faithfully reproduced in this medium we wouldn’t risk the problems of doing so.

Back to the ART

Now I know of only a few people that we consider artists; those that pay attention to the level of detail that we have chosen to work at – their background and work is mostly in the sciences.  Others work for companies that will produce “dolphins” as long as people continue to buy them.

So as said before, whenever possible we will want to create a design that is designed with an eye towards art, artistic with a message.

Feel free to contact me for more information, orders and answers to any question (regarding my work).

Thank you again for taking the time.

The majority of our engraving is done with high wattage lasers – we like lasers because they provide a tremendous amount of detail oriented engraving styles with a lower cost to client.

Regardless, understanding the different types available is the purpose of this section.

etching and engraving

A high powered air compressor blasts media onto the surface of the material.  The design is protected through the use of a mask which kind of looks like a negative of the design being done.   The mask protects the material underneath from being etched (actually removed), so that when the mask is taken off only the exposed areas appear etched.

This technique is great for continuous coverage in areas.  Depending how long the design is blasted the material removed can be deeper for added effect.  Very fine details between exposed areas should be avoided.  Tone can be control by the artist much like using an airbrush in painting.  Consistency in multiple pieces is very high.

deep multi-stage engraving

This technique which is a variation of etching that allows for deeper contours to be added to the work by systematically revealing different regions of the mask.  Regions exposed earlier benefit from the deeper cuts from the next pass.  The overall effect creates a dimensional relief in the material which is stunning in glass.

Setup for these can be some of the most arduous of all etching due to the multiple masks required and registration of the design.  They have the same coverage quality with added depth but still concern must be made when dealing with fine details between exposed areas.  Consistency in multiple pieces varies but can be controlled when done properly.

surface laser engraving

High powered lasers concentrate a beam of energy onto the material creating a tiny fracture on the surface.  The laser can control intensity and pulse of the beam allowing for very accurate designs with a high consistency for multiple pieces.  Detail is only limited to the size of the spot on the beam (typically 0.005 inches) and the stability of the material itself.

This technique works with many materials including glass and crystal although the defining edges on these can appear slightly rough when not properly set up.

sub surface laser engraving

Without getting into a technical dissertation (you can read some of it here) - sub surface laser engraving is truly a marvel to see when executed correctly and less than impressive when not. The reason we say this because when treated like a microwave (throwing in a model or scene to laser) the design gets lost with overlapping surfaces and visual clutter.

In a more positive note,  when the design is executed properly it has the ability to play with the viewer by leveraging its dimensional properties while retaining structure of design.  This is one of the areas we specialize having produced hundreds of original designs in this medium.

This technique only works with optical crystal and glass that has the composition to support laser engraving.  If you are considering having us design a piece for you, you should read some of the additional sections we have on our website (like here).

diamond wheel

The truly traditional art of wheel engraving is very beautiful on glass and crystal.  Most of you are more familiar with crystal loving cup or goblets which use with this age-old art form.

While we don’t do that traditional style of work (but know those that do should you desire one), we have used it for more geometric design in crystal as a background treatment.  The visual effect allows for crisper depths than deep engraving but is mostly limited to linear designs which is why we stay in that comfort area.  The refraction quality of these cuts can be further enhanced when polished as well.

Another important thing to know is the objects in the design will rarely ever look like a solid white object because they cast no shadow on themselves.  With white being the primary “color” and no ability for shadows to enforce contours, the designer should have a working knowledge of negative space, spatial juxtaposition and a basic understanding of good design.

3d modeling

A scene, logo, or product is designed completely in 3D cad system – ideally, different components may have differing shades of white.  This approach works well with simple shapes that are easily identifiable for the viewer.  Complex shapes create numerous overlapping surfaces which confuse the viewer with dense white regions and hide the actual shape. <show me> Best used sparingly by a designer that understands “less is more” for a better result – cad file drops from the client rarely provide satisfactory results out of the box.

2d bitmap

One of the most common methods of laser engraving for both sub-surface and surface engravers.  Images are converted into a “halftone” which is a pattern of dots spaced to evoke a sense of tone across the varying intensity of the image.  The brighter (whiter) the area, the closer the dots are placed to one another.   Less dense areas appear less bright creating tonal changes in the image.  Look at newspaper print of an image – same idea – different medium.  This approach works well with photographs that have good contrast in them as well as single or two color logos or text.  There is some size limitations though since images, symbols and text need enough dots to be recognizable.

2.5d bitmap

This is an interesting approach which combines the advantages of 2D bitmaps and some of the dimensionality of 3D modeling.  This techniques builds as many as seven to eight layers of points over one another to create a whiter “white” than is available with the basic 2D approach.  This approach works really well with logos and a certain amount of text – photographs of heads are commonly done but we feel they look “spiky” when viewed from subtle angles and suddenly loose the visual effect desired.

what do we use

Actually, we use all of the above techniques just a bit differently.  Sometimes we mix techniques with the laser and with traditional engraving – other times, one or two is all that’s needed.  Some of these variations include proprietary halftone techniques, dimensional texturing or even digitally redrawing on a tablet.

Regardless, we always show you the technique and how it can be best presented for your needs before it is ever engraved.

Sub-Surface Laser Engraving or SSLE as it is being termed nowadays, is a technique “discovered” in Russia.  Originally the creation of these “dots” was a problem known as “Laser Induced Damage” and was exhaustingly studied.  At the time, the idea was to avoid these problems by selecting specific material compositions and laser optics to improve laboratory use.

In the process, a list of material compositions was created that provided good transparency with minimal heat absorption.  There was also another list which didn’t and it was somewhere in there, that laser technicians found it “cool” to write their name in these materials.

Needless to say, someone decided there might be some commercial applications for this and began writing dissertations about the controlled placement of these dots inside of the crystal.

Over the years, the science of this process has become more of an art form that balances the technical aspects of high-powered lasers and delicate balance of image design within them.

So how is it done – the somewhat technical explanation is:

“The creation of our 3D laser crystals utilize high-energy laser beams to produce a phenomena known as “Multi-photon Absorption” within optically perfect crystal. This phenomena which use the electromagnetic wave of the laser beam known as coherent light creates an electric field greater than 10 million volts per centimeter.

When the laser beam is focused within the interior of the subject crystal the energy creates unattached electrons also known as “free” electrons. These “free” electrons, accelerated by the electric field created by the laser beam causes the high energy electrons to collide with atoms and ions in the focus area.

As the process continues it causes a chain reaction and produces about 1 million trillion free electrons per cubic centimeter in about 1 trillionth of a second. The laser then emits a short pulse beam of a few billionths per second and produces a tiny micro crack. The laser head then align and position tens of thousands of additional micro cracks to create 2 or 3 dimensional images.  Each of these micro cracks is unstable if positioned in too close a proximity to one another – in effect the entire cluster of these micro cracks are held together through the internal stress of the crystal itself.

Although, the laser generates power densities of 10 billion watts per square centimeter, the surface of the crystal is not damaged due to the highly transparent nature of optically perfect crystal. The resulting images appear to float within the crystal. “

actually, we prefer the simpler explanation:

“A big sophisticated machine called a high powered laser generates an ittsy-bitsy spot of heat inside the crystal. This heat creates a teeny-weeny dot.

The machine moves across the crystal a little at a time and creates another teeny-weeny dot. Each of these teeny-weeny dots is far enough apart to not touch the other teeny-weeny dots (which wouldn’t be a good thing). The machine does this again and again to create a really really (really) lot of teeny-weeny dots.

When the machine is done, we see all the teeny-weeny dots as a complete shape floating in the crystal. We see these teeny-weeny dots as an object because of a process that takes place in our heads known as “Perception” and “Pattern Recognition”.  It is these cognitive skills which allow us the ability to visualize objects in our mind, based on a interpretation of visual patterns, their structure and symmetry but, that’s an entirely different story…”

No matter how you come to understanding of how they are produced, we feel that the results speak louder than words.

dimensions that are appropriate for most designs

Appropriate dimensions are directly related to the proportions of the design,  Think of a model train being placed in a square cube.  It would look pretty lonely in there since the cube has a 1:1:1 ratio and a train would be more like 8:2:1 <ratios?>.  Using that same example you may want some text in there, and there would be plenty of room – but what would you notice first the text or the train?  Using the right proportional ratio for the design allows for a maximum scale of the design to accommodate the size available.

The majority of the dimensions we use are chosen to produce a stature and presence while remain as cost efficient as possible for each size.   The reality of material cost is directly proportional to the volume of glass used, its finishing and market production volume.  This is why we lean towards flatter standing pieces as opposed to cubes for a number of designs – they simply provide more presence at a similar cost of a smaller cube.

Exclusivity through size provides another aspect to consider.  While many people are visually impressed with our 8″, 10″, and larger standing blocks what many fail to appreciate is that these blocks take as much as three months to cool properly.  Couple this with the fact that most manufacturers could make more smaller cubes from that same raw material at a price that more people would generically purchase and you understand why these larger blocks and slabs come at a premium.  However, these larger scale shapes provides more area to engrave which means more detail available when needed.  Which means the letter “I” floating in the middle of an 8″ tall, 24lb block of crystal might be “artful” but really doesn’t leverage the available resolution of detail.

Perception – avoiding generic gift store/discount shapes

A number of people have contacted us in the past to ask for a unique and custom design for some special event and THEN ask that it be placed in a generic sized cube (like one they saw at a flea market or discount store).  These shapes also usually have heavy bevels which are too ornate (in our opinion look gaudy) and restrict the area we can engrave.

If we were to blindly accept this request and the buyer understood that the custom design cost would be more than a mass-produced piece  – what would the end result be.

Here is a scenario we envision.

The gift is presented and they open the gift box (is it a ring? – its too heavy) – the cover lifts off and the first thing they see is the overall shape/size (they think “I have seen these before”) – they look closer and marvel at the detail of the Sistine Chapel and their name engraved within.  They put the piece down and look at you and say “How thoughtful, you even got my name engraved!”

Never mind the Sistine Chapel or the fact that it is custom designed – in their mind, they saw one of these on a cash register at a local gas station, being hawked on eBay or by a street corner vendor.

It would be like putting thousands of dollars into a custom interior and engine in a Honda (oh, they do that!).  I guess the point we are trying to make is a custom design shouldn’t be confused with the generic mass produced shapes.

We provide a number of engraving options to accommodate any design ranging from traditional diamond wheel to advanced sub surface laser engraving.  Each approach provides a different look to the finished piece.

The majority of our engraving is done with high wattage lasers – we like lasers because they provide a tremendous amount of detail oriented engraving styles with a lower cost to client.

Regardless, understanding the different types available is the purpose of this section.

etching and engraving

A high powered air compressor blasts media onto the surface of the material.  The design is protected through the use of a mask which kind of looks like a negative of the design being done.   The mask protects the material underneath from being etched (actually removed), so that when the mask is taken off only the exposed areas appear etched.

This technique is great for continuous coverage in areas.  Depending how long the design is blasted the material removed can be deeper for added effect.  Very fine details between exposed areas should be avoided.  Tone can be control by the artist much like using an airbrush in painting.  Consistency in multiple pieces is very high.

deep multi-stage engraving

This technique which is a variation of etching that allows for deeper contours to be added to the work by systematically revealing different regions of the mask.  Regions exposed earlier benefit from the deeper cuts from the next pass.  The overall effect creates a dimensional relief in the material which is stunning in glass.

Setup for these is the most arduous of all etching due to the multiple masks required and registration of the design.  They have the same coverage quality with added depth but still concern must be made when dealing with fine details between exposed areas.  Consistency in multiple pieces varies but can be controlled.

surface laser engraving

High powered lasers concentrate a beam of energy onto the material creating a tiny fracture on the surface.  The laser can control intensity and pulse of the beam allowing for very accurate designs with a high consistency for multiple pieces.  Detail is only limited to the size of the spot on the beam (typically 0.005 inches) and the stability of the material itself.

This technique works with many materials including glass and crystal although the defining edges on these can appear slightly rough when not properly set up.

sub surface laser engraving

Without getting into a technical dissertation (you can read some of it here) – sub surface laser engraving is truly a marvel to see when executed correctly and less than impressive when not. The reason we say this because when treated like a microwave (throwing in a model or scene to laser) the design gets lost with overlapping surfaces and visual clutter.

In a more positive note,  when the design is executed properly it has the ability to play with the viewer by leveraging its dimensional properties while retaining structure of design.  This is one of the areas we specialize having produced hundreds of original designs in this medium.

This technique only works with optical crystal and glass that has the composition to support laser engraving.  If you are considering having us design a piece for you, you should read some of the additional sections we have on our website (like here).

diamond wheel

The truly traditional art of wheel engraving is very beautiful on glass and crystal.  Most of you are more familiar with crystal loving cup or goblets which use with this age-old art form.

While we don’t do that traditional style of work (but know those that do should you desire one), we have used it for more geometric design in crystal as a background treatment.  The visual effect allows for crisper depths than deep engraving but is mostly limited to linear designs which is why we stay in that comfort area.  The refraction quality of these cuts can be further enhanced when polished as well.

Typical Pricing:
Type	Size (mm)	Size (in)	Unit Price*
Cube	50×50x50	2×2x2″	$   46.00
Cube	50×50x80	2×2x3.2″	$   47.00
Cube	60×60x60	2.4×2.4×2.4″	$   68.00
Cube	60×60x80	2.4×2.4×3.2″	$   73.50
Cube	65×65x85	2.5×2.5×3.4″	$   88.20
Cube	60×80x120	2.4×3.4×4.8″	$ 120.00
Cube	80×80x80	3.4×3.4×3.4″	$ 130.00
Block	75×75x150	3″x3″x6″	$ 196.00
Block	100×100x100	4×4x4″	$ 225.40
Block	75×75x225	3″x3″x9″	$ 303.19
Block	100×100x200	4×4x8″	$ 650.00
Block	75×150x225″	3×6x9″	$ 800.00+
Block	50×200x250	2×8x10″	$ 900.00+
*quantity pricing
Pricing includes: Heavy Gift Box Setup & Art Prep (typical) Ground Shipping Please remember that design charges are separate and priced accordingly. - please note that ALL prices are subject to change, contact us for current pricing –

]]> http://www.sharpeawards.com/shapes-sizes-crystal-glass /feed 0 http://www.sharpeawards.com/mediums http://www.sharpeawards.com/mediums #comments Sat, 04 Apr 2009 14:05:54 +0000 admin http://www.sharpeawards.com/?p=76 There are many mediums we can work with to deliver the right design.  To simply this a bit, we want to explain their usage.  More times than not our use of other mediums is to add a tone and a stature to our engraved works – allowing the beauty of the glass or crystal to be punctuated in its overall presentation.

glass

What is commonly referred to as Crystal – is in fact Optical Grade Glass.  Lead crystal is slowly disappearing (due to its lead content) and Optical Glass has similar properties without the health issues.  Like crystal, Optical Glass is water clear without the tints of more common glass.   Most importantly it is distortion free – it has no flow lines, seeds or other imperfection within the medium.

Perhaps it is the purity of optical glass that is the most alluring aspect of this medium to us.  The ability to engrave it with a number of techniques allows for myriad possibilities to communicate your message.  We like to use this material as headpieces to transport the engraved design to the viewer.

Blocks provide us the room to focus more on the design within leveraging our expertise in Sub Surface Engraving.  Though basically rectangles, the design allows for dimensional representation, spatial juxtaposition and simply high detail dimensional laser art.

see some of the sizes

wood

The woods we use come in a variety of species, they are solid wood – never a veneer.  Each piece we use is personally hand selected for their character in grain and stability as a material.  We handle and oversee the cutting, dimensioning, and final shaping of each design we create.  Even our finishes are hand rubbed in oil to bring out the natural beauty in these woods.

Our use of natural woods is also very deliberate to imply tones and color into the character of each design.  In addition to their natural beauty, they are also excellent mediums for additional engraving onto – allowing the recipients’ name to be engraved without using a garish plaque.

see some of the woods

stone

Stone is a lovely material to build upon with the right design.  Mostly we work with dark marble and granite to support the contrast needed when engraving them.  Our “Absolute Black” stone is the most popular for two reasons 1) “black goes with anything” and 2) the visual contrast between the crystal engraving makes the design pop.  Though our Black is the most popular other marble and granite colors are available as well.

The stance and sheer weight of the Slab stones creates a presence in themselves which we find geometrically elegant.  Our designs in these mediums are best used in what we like to call “Monolithic” in sizes up to 24″ tall (fairly heavy).   

When a design doesn’t call for a Monolithic size, we find that the marble and granite flats provide an beautiful area to engrave upon for a number of designs that benefit from the high contrast of the black background.  Regardless of the size, the engraving of this stone is stunning and extremely detailed.

see some of the marble and granite

metal

We find metal to be an excellent medium to transfer some of our more contemporary designs into.  Machined aluminum provides some of our widest amount of finishing techniques to be applied to their surface ranging from a brushed finish to a mirror polish – all to enforce texture as a design element.

Structurally speaking, metals provide a tremendous opportunity to support or embellish our designs in optical glass or solid stone with a minimal amount of material.  This additional strength provides more open area beneath or around the piece while maintaining its stability.

others

There are other materials we find useful as a medium but like every design we create it would depend on how it was being used.  So should you have a need for a design incorporating a 24K Gold Riding Crop with Diamond Studs elevated on a brushed Titanium Stand with internal illumination – we should be able to help you (create it).