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I was in the local glass shop and they had a dozen pieces of glass 8-1/2" x 11" that were cut wrong for someone and on sale for $1.25 each. So I grabbed them up and thought I'd make some pieces for selling tools to show to prospective clients. They will start from basic to more decorative. Hopefuly I can drum up some sales this way.
My question is what are the best colors or methods to backup shell. In the corners I have pink abalone heart and the center of the "S" I have mop. I want these to pop as much as possible. These are not backed up as of yet, awaiting your suggestions. The picture here looks a bit grainy here for some reason, it actually looks much better. haha, please bear with me as I learn!
...I have framed various gold pieces with velvet, 'crushed' velvet and velveteen as a back up. The fabric store has many great colors, and I have bought a few different ones to check how the work will look with it behind. Dark green, blues, burgundy and dark purple all look great. Once I even found some paisley purple that I now wish I had bought more of. Fabric backgrounds are much more forgiving than paint as you can easily change it if you don't like the color.
I like backing up mother of pearl with silver, I find it accents the variences of colour. I also like white to back it up if it has a lot of pattern. Each piece seems to have it's own personality and tones so I usually make a decision based on that. With the contrasting dark backgrounds I would lean towards a lighter colour to make it pop. Nice looking piece. It makes me want to play while this plotter spits out vinyl beside me.
I have a box of scrap vinyl pieces that I use to check out different colours when I play with glass. If you have access to that kind of thing you could always try some behind your pieces to see what you like.
I believe there is no shame in failure. Rather, the shame lies in the loss of all the things that might have been, but for the fear of failure.
Thanks for the replies. Kelly, I've used bright colors and thought it could be more somehow. My expectations are allways very high I guess. Danny, I used the clear uv glue and it has given a very high gloss that I have been satisfied with. I was going to try silver or 12k leaf, I'll go ahead with the aluminum leaf.
Hi Jerry-
For "pop", I would consider adding a drop shaddow to your letter. On another you could do a split shade, and on a third, maybe a blended shade, or even a split blended shade. Adding a cast shadow adds another interesting dimension. For backgrounds, You could start simple, perhaps just a solid color. I always mix a color, seldom use it right out of the can. I also like to gray the color out a tad by adding a touch of it's complimentary color. I like to use japan color over one shot colors. You could try a blended backround on a panel (there's a how-to post on this forum). You could try a faux marble background. I've used a number of other items as a background, such as wood, fabric, smalt, etc. Look around at the different websites of the artists involved in this craft, or picture from this site, and pick out what you like. If you're thirsty for more professional instruction, might I recommend the glass workshop held by Noel "Mr. Morton" Webber and John "Mr. Dickinson" Studden. Keep up the good work!
Larry, there is a drop shadow on this letter. Hard to see from this pic, it is black. Also, the background is blended using burgandy and black. This blending is something I really need to work on though. What I have looks good but what I've seen is much better. On the next one I did plan on a split shade too. I've done some marbled back grounds that turned out pretty good I think. I'm self taught on this type of work (glass). I've learned by looking at yours and others here. You'd be amazed at the hours I've got logged into looking! I would really like to attend a work shop. I was ready to attend the last one at Noel's, unfourtunatly I could'nt. I'm as thirsty as they come!
Jerry, sometimes less is more. I'm particularily guilty of overdoing things. I really like what you have there. It has a simple elegance that could easily be ruined by getting carried away with too much splash. I guess it really depends on what you want to achieve. Pulling out all the stops and combining multiple techniques and textures is definitely more impressive on first glance but sometimes the quieter pieces are a lot easier on the eyes. Then again there is those Smith and White fellows who like to blow that theory all to bits. Can you post or email a closer picture of it? I'm intrigued by the background, it looks like it has a stippled texture to it and the way you have vignetted the corners already makes it pop.
Different strokes for different folks I guess.
I believe there is no shame in failure. Rather, the shame lies in the loss of all the things that might have been, but for the fear of failure.
It makes me want to play while this plotter spits out vinyl beside me.
Can you post or email a closer picture of it? I'm intrigued by the background, it looks like it has a stippled texture to it and the way you have vignetted the corners already makes it pop.
Denver Chapter of the Letterheads