New Zealand Glass Artist Darren Burch

Custom made 21st key's 

**How far would you go to make your clients happy? I would go to great lengths. After numerous telephone conversations, they finally approved my 21st key concept, and price was not a concern. Glass with intricate cutouts could easily be achieved with a laser cutter (which uses high-pressure water). However, considering that 21st keys of this nature are handled extensively during celebrations, there's a risk of breakage. To address this, I opted for two layers of durable and lightweight plastic perspex: one in a mirrored finish and the other in clear. Both pieces were precision-cut using a laser cutter, although it took several attempts and file format exchanges to make it compatible with their cutting machine.

The entire design was created by me using Corel Draw and, once approved, I proceeded to cut it out using my vinyl cutting machine. For the wooden base, I enlisted the expertise of a friend who did an outstanding job. We incorporated a slot at the top to securely hold the key within the stand, and a wood stain was applied to the base to add the finishing touch. The creation of this 21st key involved meticulous preparation and countless hours of work. To ensure the key's safe delivery and avoid any courier mishaps, I personally drove 700 kilometers from Auckland to Wellington to hand-deliver it. I also provided them with the working file in case they needed a replacement. The key itself can be easily removed from its stand, allowing their guests to sign the back and insert a photo into the central oval.

Sandblasted wine glasses

From glassware to coasters, my journey has encompassed a wide range of creative endeavors. It all began in 1992 when we embarked on our entrepreneurial journey. Initially, glassware emerged as our flagship product line, generating the bulk of our revenue. We sourced most of our glassware from ACI in Ellerslie, procuring as many as 10,000 units each month. However, as time passed, a host of other companies, some previously unfamiliar to me, recognized the market's potential and entered the fray. This sparked intense price competition, compelling me to leverage my technical expertise to produce a superior product at a more competitive cost. Yet, as the market grew increasingly saturated, public interest began to wane. This shift prompted me to return to my original passion for glass sandblasting. Fortunately, I had diversified my business interests, offering a safety net. The coasters featured in the photo you see were also meticulously crafted right here on our premises.

Decorative fern panel

While searching for a suitable fern design, I scoured numerous online resources. Regrettably, none of the available options seemed to align perfectly with my client's glass project. In response, I took matters into my own hands by modifying and manipulating fern designs that showed promise. Through this creative process, I ultimately crafted an entirely new design. The top portion of the design was entirely my own creation, driven by the necessity to seamlessly blend with the angles of the kitchen cabinet tops. These cabinets presented a unique challenge as they were angled, with one tilting to the left and the other to the right. All elements of the design were carefully sandblasted onto the glass, resulting in a clear and precise image. To maintain the integrity of the design and prevent unsightly fingerprints, I sealed the glass surface with meticulous care.

The sketch

Here's a preliminary sketch featuring Pohutukawa trees that I've prepared for a client's kitchen splashback. These iconic trees are often referred to as 'Christmas trees' due to their vibrant display of red flowers, which bloom early in the New Zealand spring season, from October to December, just in time for Christmas.

Ship ahoy

I regret to say that the quality of these pictures is less than ideal, and they are all that remains for me to share with you. I originally crafted these pieces for a customer, although I'm uncertain about their intended purpose. The images depict sailing vessels and have been meticulously sandblasted across the glass surfaces, with a protective seal applied. It's important to note that the darker areas in the images represent the clear sections of the glass.

Alloy Yachts

It takes years to earn the trust and respect of some of the biggest companies in New Zealand. When additional work was required, many companies that implemented changes had a 'no responsibility' attitude in case things went wrong. This presented a significant challenge because no one was willing to risk their expensive products. Thankfully, my expertise extended beyond the immediate task at hand. Nothing was executed unless all specifications were met, and I consistently exceeded expectations. In some cases, I even took responsibility for the outcome. Thanks to this approach, companies had no reservations about entrusting me with their projects. One such company was Alloy Yachts, a major boat-building firm located in West Auckland. I used to handle the sandblasting of various products for them. Their architects would occasionally provide instructions for some of the most challenging jobs. To ensure we were aligned in our thinking, we often used samples as a way to confirm our mutual understanding. The image you're viewing depicts stainless steel steps for one of their smaller yachts, featuring sandblasted stripes to prevent slippage. Sadly, Alloy Yachts experienced a downturn in demand for large sailing yachts, coupled with challenges faced by New Zealand exporters. As a result, they quietly ceased their operations and closed their doors in April 2016, a fate shared by many other companies during that period.

Replacement panels

Here's another example of my craftsmanship: repairing a broken door panel by crafting a custom replacement. Working on glass door panels with intricate Corinthian designs is always a challenging task. Measuring the rebate accurately can be particularly tricky, especially when dealing with curved tops. It becomes even more demanding when you're replacing one panel of a pair, as the lines within the pattern must align perfectly with the existing one.

Time capsules.

Sandblasting designs for doors constituted one of my primary sources of income. These entrance doors, which I worked on in the 1990s, featured what I believe to be an MS191 pattern. (MS stands for Maurice Sandblasting, and after the company was sold, I began working independently in 1992). Once the pattern was meticulously hand-cut, rubbings were taken and subsequently cataloged with their respective numbers. I continued to hand-cut patterns for 32 years, starting in 1984. It wasn't until a decade later, in 1994, that I discovered the vinyl cutting machine.

My certificate of merit

From 1984 to 2016, I dedicated 32 years to my craft as a glass sandblasting artist. Regrettably, there was no one else in the industry who held a higher position or could be credited as my mentor to grant me an official award. As a result, my friends from Express Graphics in Auckland took it upon themselves to create this certificate of merit in my honor. While the current whereabouts of the award remain uncertain, I still possess a cherished photograph of it.

Custom made artworks 

Creating a Nikau Palm design to seamlessly span across multiple glass panels was a challenging endeavor. Let me first explain why it was so challenging. The spaces between each piece of glass vary, requiring precise measurements to ensure the pattern flows seamlessly. Once I gathered all the necessary measurements, I drafted the design on the computer to ensure alignment and perspective. Additionally, I had to calculate the gaps within the frames where the glass sits. If you've read my second-to-last post, you'd understand the diverse processes involved in completing a project like this. The approach taken depends on the unique requirements of each job, as no two jobs are identical.

Different processes to check out for

While it may appear simple, this project actually involved a thirteen-stage process:Initial phone discussion with the client.

1. On-site visit to the client's property to take measurements and discuss their design requirements.
2. Placing an order for 6mm clear toughened glass.
3. Drafting the design.
4. Reviewing the design with the client for their approval.
5. Hand-cutting the design and carefully positioning it on the glass surface.
6. Precisely masking off areas to be exempt from sandblasting and conducting a final check.
7. Sandblasting the pattern with added shading.
8. Thoroughly cleaning and wrapping the glass.
9. Delivering the finished glass to the client's premises.
10. On-site glazing of the glass panels.
11. Cleaning up and returning to the factory.
12. Preparing a detailed job description and invoicing the client.

The project consisted of two tall glass sidelight panels, positioned opposite each other, framing a large steel door.

Sidelight entrance panels

Here's a glass sandblasting artwork I created for a private residence in Glendale Heights, Auckland. The residence had a solid front door, with a glass strip adjacent to it, measuring 2470mm in height and approximately 250mm in width. Crafting this piece was a challenging task because the chosen design from my collection had to fit precisely within the dimensions of the glass panel. The original artwork in my collection stood at 1200mm in height, which required extensive modifications. My client was thrilled with their new glass panel, and I also took care of the installation for them.

Decorative fern panel

As someone with extensive experience in creating glass designs, I understand the importance of being able to sketch something quickly when asked. Creating rapid mock-ups allows clients to visualize the design, and subsequent fine-tuning ensures approval. However, there were occasions when I simply went with the flow. In this particular project, I sandblasted and sealed a native New Zealand fern design, leaving the fern pattern clear while the rest of the glass was frosted. This glass panel was intended for a bathroom window, and my client was highly satisfied with the design because it not only provided an aesthetic touch but also ensured privacy.

Imaginative designs

This is one of many designs I've developed over the years in the trade. It's a sandblasted glass kitchen cabinet panel featuring a decorative design of my own creation, tailored for one of our clients. They specifically requested it to be sealed to prevent fingerprints from marring the glass surface. This panel stands at a height of 2420 mm. The masking tape is still in place, covering the areas that weren't sandblasted. Once it's removed, you'll be able to see the clear parts of the glass.

YouTube video from Koru Kiwi Arts

How to Cut Out a Glass Circle: Step-by-Step Instructions
Tools Used: Glass pliers (with flat jaws), Circle cutter, Cutting oil.
Glass Circle Details: The glass circle was cut from a piece of 4mm clear float glass.

Step 1: Choose the side from which you'd like to make your cut.
Step 2: Ensure that your circle cutter is placed at the center of your glass.
Step 3: Make sure you have an appropriate amount of off-cut space around the circle edge. You'll need this for running your glass pliers along the glass circle edge.
Step 4: With your circle cutter in place and the required size set, place a small cloth with oil under the diamond tip of your glass cutter. Gently score around the circle as if you were making your first cut.
Step 5: Remove the cloth, and you should have a circle marked out in oil on your glass.
Step 6: Begin to scribe out the circle from the glass by pressing down on the cutting head. Remember to place one hand in the center of your glass cutter as you scribe out the circle.
Step 7: The oil prevents the cut from sealing back up and provides you with ample time to complete your run.
Step 8: Turn your piece of glass over and press down onto the cut. This should initiate your run. If not, turn the piece back to its original position before the cut and tap with the end of your glass cutter on the underside of the cut to start the run.
Step 9: Once you have started the run, align your glass pliers along the cut and move them around the glass piece, ensuring you complete the run.
Step 10: When you see that the run forms a complete circle, place your pliers on the edge of the glass, pull towards you as you lift. This breaks the seal on the other side. Repeat this for all four edges. You may hear a pop, but it's not necessary. This step prevents chips during the removal of your glass circle.
Step 11: After completing all the steps above, make a small cut at one of the edges (as seen in my video) and tap to make it run. Repeat this for all edges if needed.
Step 12: Remove the outer pieces to reveal your glass circle.

New Zealand Tui

This is a sizable glass door panel featuring a clear image of a New Zealand native tui bird. I created this piece for a client in 2013. Interestingly, the black areas in this image represent the clear parts of the glass. It all depends on one's perspective. When we sandblast an image onto a piece of glass, it appears white in color. In this case, it's a negative image. A positive image, on the other hand, results from sandblasting only the picture itself, leaving the background untouched.

Glass ranch slider samples

(1992) Before you scroll past this post, allow me to provide some context for this sandblasted picture. During the setup of my second sandblasting business location, I found myself in need of sandblasted examples to showcase my capabilities to potential clients. Given my limited budget, I decided to repurpose an old ranch slider door that had been generously given to me. In fact, I had three of these ranch slider doors, each measuring 220cm in height and 120cm in width. If I happen to locate any other works from that time, I'll be sure to share them as well. The image of the Chinese dragon originally came from a business listing in the Yellow Pages. It was incredibly small, measuring only about 2.5cm by 1cm. Scaling it up to a larger size was a significant challenge. The entire process was executed by hand, without the use of a vinyl cutter (the old-school way). First, I applied masking tape to the glass surface and then freehanded the design onto the masking tape. Subsequently, I began the painstaking process of hand-cutting the pattern, leaving the majority of the cut parts to be removed later for sandblasting in the shaded sections (similar to airbrushing). Afterward, I painted the border in gold, and the remaining masking tape was removed, revealing the clear glass. From start to finish, this project consumed six hours. So, you could say I was quite adept at what I did.

MGM workshop

MGM Glass Sandblasting: I recently stumbled upon this old photograph of my workshop. As you can observe, I had a multitude of projects, and I always saw them through independently. There were times when I juggled five or more jobs simultaneously, making solitary work quite a challenge. However, I had a well-established routine to manage the workflow. Occasionally, I would receive urgent requests, causing the order of tasks to shift. Consequently, I refrained from making promises unless absolutely necessary. As you peruse my previous posts, you'll gain insights into the various tasks required for each unique job.

A challenging project

Metropolitan Glass presented me with one of the most challenging tasks. We shared the same customer, which facilitated communication regarding technical requirements. At the time, and possibly still today, Alloy Yachts was an international boat-building company specializing in the construction of super yachts of immense proportions. What you see here is just a small component of their projects. There were six pieces, each measuring 3,000 x 600 millimeters, all custom-made and laminated with a special resin, resulting in a thickness of 15 millimeters. These glass panels were to be installed vertically, stacked one on top of the other, within one of the primary internal stairways of a yacht. This area alone measured at least 6 meters in height, giving you an idea of the sheer scale of these vessels.

My role was to meticulously follow the plans and their draft drawings, executing deep blasting of narrow lines without breaching the protective tape that covered most of the work area. The challenge lay in ensuring that the straight, thin lines seamlessly traversed from one panel to the next. This made it exceptionally difficult to estimate the depth of each individual piece, as the blasting needed to be uniform across all of them. Additionally, gold was applied within the grooves, requiring consistent application as the intention was to allow light to shine through the edges of the glass. Moreover, there was a risk of breakage, making it even more challenging to achieve perfect alignment.

Competitive patterns

Regardless of the size or complexity of a project, every job that came through my door was of utmost importance to me, and I never complained. One particular assignment involved reproducing an existing pattern from my client's lounge room pillows and couch onto a coffee tabletop, which I also supplied in 6mm clear toughened glass. The tabletop was of medium size with square corners. To begin, I took a picture of the pattern and saved it as a digital file. This file served as the basis for drawing the circular pattern in my CorelDRAW program. Precision was key, as every small clear oval had to be precisely positioned; any deviation would be noticeable. My vinyl cutter had a maximum pattern width of 600mm, so I had to meticulously join the pieces together without leaving any gaps. Afterward, the glass was sandblasted and cleaned thoroughly. The end result delighted my customer. The most challenging aspect of this pattern was my concern that one of the ovals might be dislodged during the sandblasting process, requiring me to exercise extreme caution.

Old sailing ships

Here's a sandblasted picture that I created, featuring a sailing vessel. Over the course of my career as a glass sandblaster, I produced numerous hand-drawn designs. It's hard to determine the exact number, but it's likely in the range of six thousand or more. However, creating these designs was just one facet of my work. In traditional New Zealand houses, wooden frame doors crafted from solid rimu or pine were quite common, often featuring obscure glass inserts. Glass doors were an ideal choice for allowing natural light into homes, especially in areas with dark entrances. Another advantage was the ability to maintain privacy while still enjoying the benefits of daylight by having a pattern sandblasted into the glass.

Glass artist Darren Burch

In the year 2015, here's a picture of me standing next to a project I completed for Metropolitan Glass. My company was known as MGM Glass Sandblasting. At first glance, it may seem simple, but those fine lines etched into the glass had to align perfectly with other irregularly shaped glass panels. In total, there were 22 glass panels, all made from 12mm clear toughened glass. These panels were custom-made for a residential property's balustrade and featured trapezoid, parallelogram, and rectangular shapes.

Hyatt Hotel Job

Let's rewind to 1992. Our small sandblasting business relocated from Middleton Road to the premises of Winstone Glass in Mt Roskill. Following the move, we set about constructing a substantial sandblasting booth, partitions for additional work areas, and a spacious mezzanine floor which housed our office and kitchen. In the photo, you can see me inside our expansive sandblasting booth, measuring 6 X 4 X 3 meters. I was painstakingly hand-cutting a design that I had personally drawn. This design would undergo deep blasting, involving the removal of various parts during the process. To scale up the drawings, I utilized a projector, and thick 3M masking tape was applied directly to the glass surface. We used aluminum oxide as the blasting material. The project was for the Hyatt Hotel in Auckland. Please note that the last two photos were captured using a small Canon digital camera, so the image quality may not be the best. Nevertheless, these photos showcasing the glass size and design should provide you with a sense of its scale and intricacy.

Custom made trophy for a cause

(Glass Trophy) Here's an older piece I created back in 1998 for the "Breast Cancer Society." As you can see, I worked on a variety of glass projects. This particular trophy was constructed using two clear pieces of 12mm glass and one clear piece measuring 19mm in thickness. Many years ago, I was given a 25mm thick clear float glass, which originally came from the Auckland Zoo reptile enclosure. I held onto this piece for many years before eventually gifting it to a close friend.

Here's how I crafted the trophy: Using a pair of glass pliers, a hammer, and a chisel, I carefully shaped the glass edges to achieve the desired size and appearance. Next, I applied my vinyl cut-out design, including text, to one of the 12mm glass pieces. The design was reversed and placed on one of the standing glass pieces so that it could be read from the outside. To prevent excess scratches or overblasting during sandblasting, all glass pieces were meticulously masked off with vinyl. I then carefully cut around the edge of each piece on both sides, following the contours. Afterward, I sandblasted all the glass edges and the pattern. This process was time-consuming, as I had to ensure the removal of all loose bits of chipped glass from the edges. Subsequently, I masked off the pattern and painted the sandblasted edges with clear gloss. The following day, I removed the masking tape, cleaned the glass, and assembled all the pieces using Locktight adhesive. To complete the trophy, I added clear round plastic bump-ons to the bottom of the 19mm base.

For the love of my family

I enjoy creating things for my family, and I'd like to share some of my handiwork. My sister and brother-in-law had a specific request—they wanted a design that would seamlessly connect the main entrance area of their home to the living room. As I explored the inner structures of their beautiful family home, I noticed their fireplace, which had some intriguing features that I could incorporate into the design. This became the foundation for maintaining a consistent flow from the fireplace to the glass living room doors that led into their hallway near the main entrance. I carefully measured and fitted the glass to ensure it all aligned perfectly. The end result was truly stunning, and I was delighted to see that they were pleased with the outcome.

New Market Olympic pool job

This was a replacement panel I created for the Olympic swimming pool in Newmarket, Auckland. The circular design measures approximately 600 mm in diameter and is featured on large glass doors with beveled edges. The original artwork had been done using acid etching techniques, but as we lacked the necessary materials for such a process, I decided to make an excellent copy of the original using my technical expertise. To recreate the design, I began by making a rubbing and meticulously recording all the necessary measurements. Additionally, I took plenty of photos to ensure that my replication closely matched the original. Traveling back for a second opinion wasn't a viable option, so accuracy was paramount. The glass used for this project was 6mm clear float. Due to new regulations at the time, glass panels above a certain size had to be toughened. As a result, all the deep blasting work on this artwork was completed first. Subsequently, the panel was taken to Metropolitan Glass for the toughening process. Afterward, I finished the remaining shading and applied a coat of clear gloss to the inner circle. To add texture to the circle, a different blasting grit was used.

Merry Christmas

During Christmas in 2017, we were incredibly busy crafting beautiful items to sell for the holiday season. We rented a small table at Cam Ocağı Vakfi in Istanbul, where many talented individuals were also showcasing their art. The items on our table were the result of our hard work and creativity. I was teaching my wife, Berna, how to apply masking tape to glassware and service bowls, followed by the intricate process of cutting out patterns by hand. This method is traditional and reminds me of how I used to work back in New Zealand. There, I had access to a vinyl cutter that could precisely cut patterns for me. In my career, I've learned over ten different methods for applying patterns to various surfaces, including glass, stone, stainless steel, plastic, wood, and more.

These techniques include:

1. Brilliant cutting.
2. Vinyl cutting.
3. Hand cutting.
4. Screen printing.
5. Acid etching.
6. Sandblasting.
7. Tissue prints.
8. Painting after sandblasting.
9. Kiln painting.
10. Adding textures with different materials.
11. Engraving.

And many more.

Northern Steam Shipping Company

The principle behind these engineering drawings was to facilitate a deep sandblasting job on four glass panels – two 15mm clear float panels and two 6mm clear toughened panels. The deep blasting was performed on the 15mm clear float glass, while the shading parts of the pattern were executed on the 6mm clear toughened glass. Once completed, the 15mm and 6mm glass panels were sandwiched together with the sandblasting patterns facing each other. This arrangement resulted in the pattern on the 6mm glass being in reverse (away from you), while the 15mm clear glass displayed the deep blasting as intended (in front of you). Consequently, once the process was finished, the sandblasting couldn't be altered. After thoroughly cleaning each glass panel, I applied heavy-duty, 250mm-wide 3M masking tape to them. Then, I began drawing the patterns directly onto the paper that I had affixed to the tape. I can't recall if I used a projector screen, but I likely didn't because precise measurements were essential. All the drawings had to be scaled up significantly from the original drafts provided. I proceeded to cut out all the lines and labeled them according to their intended depths for blasting. To ensure accuracy, I utilized a wooden stick marked with lines to help define the appropriate depths. Our sandblasting booths were spacious, although we still had to manually load aluminum oxide into a vessel for retrieval. Our sandblasting guns operated on a venturi system, not a pressure pot system. I preferred the venturi system because it provided me with better control over the volume of air and grit pressure required. Deep blasting a four-meter straight line across the panel was undoubtedly a challenging task, with no room for errors.

The way we did things back then

All handcrafted by myself. Here are some additional glass techniques that I learned during my 32 years in the trade. Please read to the end.

While working in Australia in the same line of work, I noticed they were using acid paste for screen printing and liquid acid for clear etching. These were traditional methods, but unfortunately, proper disposal practices of these products into waterways weren't followed by the general public. Numerous times, without care, I observed them washing away acid etching paste down the drains with a hose. This method of disposal wouldn't be my ideal way to address this issue. In fact, my approach would first involve dissolving this product in lime to reduce or remove its acidic properties. After that, I would take action to find a more environmentally friendly means of disposal. I'm definitely not someone who carelessly ignores or hides such actions for the sake of making a bit of money because preserving a clean environment is more important. In New Zealand in 1994, while working with the company Sandblasting Artists (SBA), I delved into various library books and came across some glass acid formulas. I then contacted an industrial chemist to purchase the necessary products. Initially, it was quite dangerous to make, even with all the appropriate safety gear. I still felt discomfort as the fumes penetrated my skin. I did a few jobs with it, and they were all successful. However, after a few weeks of use, I decided to discontinue using this product and return to using safer methods. The glass pieces in this picture were not made with acid etch.

Catholic church angels job

I sandblasted Catholic church angels, priests, and two Celtic crosses on nine panels in total. Each panel was 3 meters in height. My client, who used to be a priest, became a registered church artist for the Catholic church. He wanted to create all the artworks and patterns from his own premises with the help of a small team of enthusiastic students. They assisted him in cutting out the drawings and carefully placing them on the glass. We spent considerable time together as he needed guidance on how to execute this task. I shared plenty of my knowledge and expertise with him. Fortunately, my sandblasting booth was over 4 meters long, so the size of the glass panels was not an issue. Drawing the patterns on the glass was not the challenge. The real challenge was cutting out the patterns and ensuring each cut was precise. It had to make sense from a sandblaster's perspective. This task was not easy, as I needed to adapt someone else's ideas to fit my own techniques. To explain further, we typically draw on white paper with a black marker, but with glass, it's the opposite. You can think of it like using a blackboard, where the sandblasting gun is your chalk. The clear parts of the glass act like the black areas of the pattern. So, it's like thinking in reverse. Working in a sandblasting booth with protective gear, connected to an air regulator, and dealing with obscured vision due to dust, it was crucial to ensure that every part of the pattern was cut correctly and precisely. Each glass panel took approximately 6 to 7 hours to sandblast, with each cutout part carefully shaded to make each design stand out and, most importantly, to ensure consistency in the techniques used. After completing the sandblasting process, I meticulously cleaned each panel, preparing them to be transformed into double-glazed units (DGU).

Sandblasting glasses and glassware

I was teaching my wife, Berna, how to apply masking tape to glassware and service bowls. Afterward, I demonstrated how to hand-cut the patterns. This is the traditional method. In New Zealand, I had access to a vinyl cutter that would do the pattern cutting for me. I'm familiar with more than 10 different techniques for applying patterns to various surfaces, including glass, stone, stainless steel, plastic, wood, and more. I also have experience adding different types of textures.

The Auckland museum

Job for the Auckland museum. I couldn't find a better picture, so I'll tell you all with words. It certainly wasn't the easiest job to do. I had 12 panels in total, all in 19mm clear float. The weight alone was a struggle. Over 100kgs in weight for each piece. My mission was to deep blast a nautilus shell pattern, directly to each piece of glass. No masking tape was used. Instead I Drew directly to the glass. With a permanent, black marker pen. And by using my sandblasting gun up close. I was able to carved out the lines that made up the pattern of the nautilus shell.

Some as deep as 12mm. All sandblasting was done inside the sandblasting booth. Wearing protective gear and helmet. I was also connected to a outside line, for air. From a air regulator. The only way to see clearly, was to feel each part as a went along. Blasting at a constant psi of 120. A very difficult task. Very dirty and lots and lots of hours inside a sandblasting booth. 6 days in fact. I was using a Hydrovane air compressor. The surface of the glass was so hot from the blasting. It was creating a light of fire. This was handy, as I also used it, as a guide line.

I never got to take a picture of the final look after installation. But fluorescent lamps were added in later ( Back of the glass) to show of the grooves, that made up the pattern of the nautilus shells.

Decorative glass tabletops

My Chinese customer, wanted me to sandblast a New Zealand stamp, onto a new supplied piece of glass. For their dinning table top. 

I was very happy with the end results.

Job description was to cut out one piece of 6mm clear float, with flat polished edges. There was four rounded polish corners. A positive pattern with a shaded sandblasted picture in the centre with borders. Plus delivery and installation. West Auckland.

Different styles from different era's

From 1984 - 2016.I created countless amounts of artworks for bars and saloons throughout the Auckland CBD. From Victorian art, Art Deco, Art Nouveau, Corinthian to Modern art.

Material types were. Glass doors, mirrors, glassware, coaster, tiles, trophies, stainless steel, elevator doors, glass balustrades and sign-writing.

First time using SBX

Everything was handmade by myself. No machines or computers in those days. One of many challenges, that I had to face, during my sandblasting career. When I was asked to come up with a Victorian pattern for a local bar in Auckland called " Dick Turpin's tavern, Glen Lynn. I didn't realize, there were so many windows of different sizes. Your probably saying. What's the big deal here, they all look the same. You're right about that. But each window, had their own costum made pattern. I believe there was 30 windows in total. 

Back in 1992, I was working for Maurice Sandblasting in Ellerslie, Auckland. We had new business owners. As the old business was sold, a year later, after the death of my boss Noel. 

How was this sandblasting job accomplished? SBX was a brand new product, that we were trying out at the time. Newer versions of this product, came out later, for easier handling.

For each window panel. I used, darkroom exposure resin. By cutting away the area's to be exposed by light. The SBX liquid from underneath, was applied to the glass would remain solid after exposure. Red parts of the film resin, that remained on the templates. Were the parts washed away by using a water blaster. All film work, except for the template making, was done in a dark room.

Afterwards, the 30 panels were dried and checked for any imperfection. Because you can't fix after being sandblasted. So repairs where made by using sticky tape. Sandblasting was then done. After the sandblasting, each panel had to be washed, to remove any of the remaining SBX film.

Glass sizes, requirements, delivery and glazing was done by Maurice Sandblasting.

Our Christmas table.

Sometimes an artist needs to be versatile to be able food on the table. My wife and I made some glass fusion pieces and did some sandblasting, glassware and bowls as well. Plus my wife made delicious homemade chocolate chip cookies.

Learning glass fusion

Berna my wife took us on a glass course at Cam Ocağı Vakfi in Istanbul. To learn all about glass fusion. I've never done glass fusion before, and I found it very interesting. Especially when they showed us about, how to add in the colour.

What is Glass fusion?

Basically you are creating a picture from broken pieces of coloured glass. You can also add different textures with other products, designed for this type of work. If you only have clear glass. Painting them with coloured paints is another option. All design for glass fusion. Later it's placed into a kiln for fusion.

What happens in the kiln? 

You carefully place the glass into a kiln. Then by adjusting the temperature, the glass pieces that sit directly onto a flatter piece of glass, melts together, creating a picture. Also you can manipulate the shape as it melts. By placing it, in to a metal shape. Like a Bowl or flat dish with sides.

Glass slumping entrance

Here's something new, we did from our premises. One of my friends who use to work with me. Had a glass kiln setup in our factory. We used ceramic fiber fusing paper blocks. The patterns you see in the glass, were created by carefully cutting out the shapes, from the fiber blocks. This fiber was resistant to high temperatures. Several attempts were made to the timing required for slumping. And extra fiber templates were made as well. Because our kiln was only 120cm long. Three separate firings were made. All glass pieces needed to fit together to an orderly fashion. Plus they all needed to be the right size. To be able to fit into a side doorway entrance. We use 12mm clear float. Glazing was done by ourselves. Job was in near Mt Roskill, Auckland.

Catholic church angels, priests and celtic crosses

I undertook the task of sandblasting angels, priests, and two Celtic crosses for a Catholic church project. In total, there were nine panels, each measuring an impressive 3 meters in height. My client, who was once a priest and had since become a registered church artist for the Catholic church, had a unique vision. He aimed to complete all the artwork and pattern cuttings at his own premises with the assistance of a dedicated team of enthusiastic students. Together, we meticulously cut out the intricate designs and affixed them to the glass. During our collaboration, I shared my extensive knowledge and provided guidance, as my client needed to understand the intricacies of this particular task. Fortunately, my sandblasting booth was generously sized, spanning over 4 meters in length, which easily accommodated the lengthy glass panels. While drawing the patterns wasn't a challenge, ensuring the precision of each cut proved to be the key concern. It was essential that every cut aligned perfectly from a sandblaster's perspective. This task presented its own set of challenges, as it required adapting someone else's ideas to fit seamlessly with my own execution. To clarify, we initially created patterns on white paper using a black marker, but with glass, it's the opposite: think of a blackboard where the sandblasting gun serves as your 'chalk.' In this context, the clear sections of the glass act as the black areas of the pattern. It's akin to thinking in reverse. Imagine being in a sandblasting booth, donning protective gear, connected to an air regulator, and your vision obscured by dust. The last thing one wants is to discover parts of the pattern that were not cut out or cut incorrectly. Each glass panel required approximately 6 to 7 hours of meticulous sandblasting, with great attention to detail paid to every cutout section. This shading technique not only made each design stand out but also ensured uniformity in execution. Once the sandblasting was completed, I meticulously cleaned each panel, preparing them for the next step in the process: being incorporated into double-glazed units (DGUs).

Native NZ glass birds

In 1995, I crafted some simple yet exquisite sandblasted images featuring New Zealand's native birds, including the iconic Kiwi and Kea. These artworks were personally created by me for exterior doors, with glass panels measuring approximately 1220 x 312mm in size. This collection also included representations of the Tui and Fantail birds, although regrettably, I don't possess any archived photographs of those particular pieces. Nevertheless, I hope to provide you with a general sense of their appearance. The process of sandblasting involved multiple stages. Initially, I meticulously drew the designs on adhesive tape, which was then carefully applied to the glass surface. Afterward, I hand-cut the tape to create the desired patterns. Sandblasting was executed on various parts of the birds, as well as on the outer edges of the glass panels. Each panel also featured a clear oval positioned above its center, within which the birds were situated. Additionally, I incorporated the natural habitats of these birds into the designs, such as mountains for the Kea, koru patterns for the Fantail, ferns for the Kiwi, and kowhai motifs for the Tui. To add intricate details like feathers, I employed glue as a barrier against the sandblasting process.

Over a span of 32 years, I diligently crafted numerous exquisite glass artworks for clients. It is my estimate that there are now more than 90,000 individual pieces of my work gracing homes and spaces both in New Zealand and abroad, and this number may even exceed my calculations.

Working overseas

I'm a professional sandblasting glass artist with 32 years of experience. I started my career, back in 1982 in Brown Street, Ponsonby Auckland. With Maurice Sandblasting. The picture that you're seeing, was a job I was commissioned for. At first I wasn't interested. As I wasn't completely set up, for any exports jobs, of this scale. So I past the job onto Metropolitan Glass. Surprisingly no one was interested and for over 2 years. This job was passed on from company to company. Eventually it ended up, back at my doorstep again. This time I was ready. Which was perfect for me. As I was completely setup. I went into a partnership with Winstone glass. I believe it was back in 2004. With daily commutations from the overseas vendor. Clear instructions was vital. Because Hawaii was where this job was taking place. So no mistakes. And I need to say thanks again to my friends at Henderson glass. For helping us with the Glazing work.

1. Prepare a comprehensive quotation, including costs for all products, exports, glazers, insurance, and other expenses.
2. Develop a detailed schedule outlining payment arrangements.
3. Obtain the necessary export license.
4. Travel to Hawaii with an additional glazer to assist in taking glass templates and measurements. Visit the building department for material-related needs.
5. Return to New Zealand with the collected templates.
6. Place orders for glass from two different suppliers.
7. Implement a rigorous quality control check.
8. Create precise drawings to scale, ensuring that all artworks fit the dimensions of eight glass panels with curved tops, including necessary holes, cutouts, and hardware.
9. Coordinate with vinyl suppliers and artists to create vinyl cutouts to scale.
10. Continuously review and revise the project as needed.
11. Reorder glass due to defects in the initial supply.
12. Insert vinyl pictures into the glass and perform sandblasting for each panel with a different picture.
13. Carefully align patterns to ensure consistency within the group.
14. Manufacture custom hardware for the glass doors.
15. Arrange for a crate to be made for safe transportation of the glass to Hawaii.
16. Wait for a two-week period before returning to Hawaii, accompanied by the glazer from Henderson Glass (commendable work by Brent). Together, oversee the installation of all glass.
17. Return to New Zealand, ensuring a successful project with no mishaps along the way.