it is not a trophy – really

Laser design as a medium of expression

So why would we decide to create ART in a medium that has become so discounted in these last couple of years, for that a quick background is probably in order.

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.

sidebyside

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.

engraving options

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 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.

white blobs from…

what is it?

Above is a rendering showing laser points of a client model for evaluation – as you can see the inherent translucency of the medium reveals too much of the surfaces on the back side and in-between – in a word confusing and ugly. This problem can be further complicated since it is 3D – meaning the viewer can see additional angles that hide elements due to this visual overlapping. The sad part is many of the additional surfaces that typically included in most 3D models have already been removed from this example. Meaning “out of the box” these models would appear more dense (which isn’t a good thing).

Below is the solid model of the above model and now you can see the model for what it truly is. More importantly, details that are present in the above model are now clearly visible. This is because we see the shadows enforcing the contours of the shape we are looking at (lack of transparency helps too). Look again at the model above and you will see how these shadows are not enforced. Needless to say, we advised the client against this type of model for their design.

Understanding this and a host of other visual cues allows us to design in ways that complement the medium in a way that is recognizable. We do this a number of ways through selective surface manipulation, density selection and just a sense of what works through constant practice in this medium. This is perhaps one of the single largest reasons we provide our service and expertise in collaboration with other designers to bring a practical solution to their vision.

Below is an example of a properly balanced model that reveals its components while not overly obscuring itself.

One other thing that should be mentioned since we are on a bit of an educational bend is scale (size). The design above is in a 4″ cube which allows the model to breath a bit. If the cube was half this size it would have less points to define it because the points don’t get any closer together – and we all know what happens if they do get too close together. However, smaller designs can work if the design complements the medium size.

That’s all for now!

ratios

The use of ratios of different elements is rather important to design. Nearly everything can be equated to one of the two approaches pictured below.

These proportions when used with one another is very similar to what people do in framing a photo (2D) or packing a box (3D) – only difference is we can resize to make things fit in what we are placing them inside of. Even make them float in 3D!

Although we can resize, sometimes you just shouldn’t – mostly due to details that can become lost when the laser collapses many points of a larger design into a just a few points.

Regardless, the idea of ratios is really only being discussed for now to describe how to avoid designs that don’t make use of the available space, maximizing the available design or move to alternative shapes and sizes when the design call for it.

choosing the right shape

When choosing the shape of the optical glass/crystal it is important to understand the overall composition of the design being engraved. Wider designs obviously are best in a landscape orientation but it really isn’t that simple. The different shapes we select (regardless, of the medium) are chosen on three principals:

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.

enhance

10 seconds

There is a saying that “Presentation is Everything” and we tend to agree for about 10 seconds except when it comes to the unveiling. Still,10 seconds is about the initial time the recipient has before initially seeing the goods.

A lot happens in that initial 10 seconds between wondering what it really is and finding out – this is one of the areas we like to help. While all of our smaller designs will come in a suitable gift box – larger ones require some special consideration.

Recently we completed an original design for a well-known Automobile Magazines’ Annual Award – the award stood over 17″ tall in cut crystal wrapped with custom fabricated aluminum. A mere box would be a bit demeaning and structurally flimsy – a museum style shipping crate for an artifact might be nice but had nothing to do with automotive.

What we came up with was a big red metal toolbox with a foam injected black felt holder on the bottom. On the outside bottom corner, a brushed metal plaque with magazines’ logo.

It was perfect – it acted as not only as a great presentation for the Automotive Industry but a very safe shipping container (double boxed of course). Perhaps best of all, this sort of presentation had never been done before – which we were even happier to hear. Moving forward, they now have the opportunity to continue using this as part of their brand in the award ceremony – basically, owning the toolbox concept in their industry.

While the above example demonstrates the ideal scenario of good packaging, all of our designs do not benefit from something that well conceived. Basically our designs benefit from something simple but elegant. Sometimes it is a basic black heavy board box, or a velvet gift bag allowing the design to emerge from its wrap.

We also create custom wood boxes for some of our designs which double as a keepsake. These boxes are constructed of solid hardwood of your choosing with a fitted lid – all of our custom boxes are solid hardwood with mitered corners with four-corner matched grain. Additional treatments such as dovetails, bi-wood keys, and inlays are also available.

All of the packaging we offer can be engraved, embossed, imprinted to add a level of personalization or message.

the design

After the initial presentation, the recipient will look over the design and the detail. The texture of the natural wood or stone add to it tactile esthetics. The engraving may play with the eye and reveal other messages.

While we try to offer ideas during the initial phase of the design – it helps to know that additional treatments can be added in addition to the multitude of combinations we offer.

18K gold gilding
precious metal and stone inlays
illumination
custom base designs

Regardless of the vast array we can provide you – we can make things simpler by making suggestions that are appropriate to your event, tone and budget.

shapes & sizes – crystal & glass (other)

We generally do not work in these shapes as they are more *generic* designs
note: minimum purchase requirements relate only to crystal only designs

shapes & sizes – crystal & glass (flats)

Our Standard Dimensions are:
8×10″, 5×7″ and 4×6″

We now carry additional dimensions and UltraThick 3/4″ Optical Flats

Typical Pricing:	Starting at:
4×6x3/8″ Standing Plaque	$125.00
5×7x3/8″ Standing Plaque	$145.00
8×10x3/8″ Standing Plaque	$225.00

All plaque pricing include:

Oil Rubbed Hardwood base

Heavy Gift Box

Setup & Art Prep (typical)

Ground Shipping

shapes & sizes – crystal & glass (blocks)

note: minimum purchase requirements relate only to crystal only designs

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 –

wood and personality

There are a number of reasons we may suggest using natural wood as one of the mediums for your design. Perhaps the single largest reason is that wood has a personality all its own. The cut, grain and finish all comprise the visual and tactile qualities that evoke a sense of this personality. Each design we create carefully chooses the correct species for the mood and meaning. We further enhance these with a hand rubbed oil finish to provide the warmth and character of the wood.

All of the woods shown below have there own natural beauty and coloring but perhaps more importantly they impart character.

Some of the woods we have worked with:
Walnut	Ash	Red Oak	Hard Maple
Curly Maple	Birdseye Maple	Spalted Maple	Cherry
Mahogany	African Paduak	Purple Heart	Cocobolo
Wenge	Teak	Bubinga	Zebrawood
Maple Burl	Rosewood	Ebony	Redheart

There are a multitude of other wood species to choose from, each with there own unique characteristics. Take a look at this page of collected wood samples to appreciate the variety. Should you see something you particularly like – ask us and we can advise you to its workability for your application in design.

places to explore