One of the interesting challenges with using glass an an inlay is that foreground (glass) and background (concrete) are created in different and permanent steps in the making process. The interaction between foreground and background is, just like in any painting, critical to the success of the piece. But unlike painting, all decisions are made a priori and aren’t easily modified. The result is slow progress toward new contrasts.
I have typically started with a black background for high contrast, high drama, high impact. But I’m doing more with lighter backgrounds. The entire ENCODE series features silver gray concrete, a palette choice very directly linked to what I consider the ‘urban palette’ (think: concrete, signage, asphalt, traffic markings…). One of my strategies for getting to the right contrast is using white, black or dark gray glass. In the ENCODE series color could be added via saturated paint that I could modify and edit until it was in balance with the mid-tone gray background.
I’m now exploring white as a background to create a lighter, airy piece that still features clean crisp glass form and line and shadowy, embossed layers. These pieces are more subtle than the high contrast version. I love the idea of monochromatic or limited grayscale palette.
rendering | drawing FLOURISH w white background glass+paint+concrete c Heather Hancock 2023
drawing FLOURISH c Heather Hancock 2023
I can also see cutting glass forms in color for a truly gorgeous, fresh visual experience.
rendering | drawing FLOURISH/ambers w white background glass+paint+concrete c Heather Hancock 2023
The challenge is conveying in a drawing how the glass will continue to catch light and shimmer for a dynamic bold visual experience. A quick first step is a glass palette sample.
