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TECHNIQUE

They're certainly different --each one of these--aren't they? Each one has their own touch.

I like the lighting in this one.

Yeah, I do too.

That would have been a spontaneous response. You'll find sometimes spontaneous things are interesting. I think her water is more spontaneous.

She said when she gave me her picture, "I don't think I got the water very good."

But I don't mind that. I think it looks all right to me. Who am I to judge?

Well, it might be that the marks she used are diff...Like the style of marks she used for the rest are different from the paint quality of this. She may have been feeling hesitant and so handle the paint differently. Because you see in this smaller one the paint is handled similarly throughout.

Uhm hm.

On the back plate we could actually paint it right on. So all that's on the back plate is the letters.

Oh, really. How do you mask it then?

It's the same.

The computer...

This would actually be a piece of acrylic.

Yeah.

And the "table" would knife it out. and they would peel that part out and just paint that part of it.

The front would be routered--no paint.

Yeah.

You could actually have the text printed on it.

But without screening you can paint it?

Yeah. You take your acrylic, put it on the table and you knife it . The table goes on and knifes around all those letters. You peel off all the letters and just spray it with paint and then pull off the rest of the paper leaving just the letters.

Oh, I see.

But it would be a routered sheet but with no illumination.

Right.

Exactly.

And it's not really routered, but it's just knifed out with a knife. They put a little X-acto knife on the arm.

It intrigues me to have this floating writing and dots in front of the wall like a painting without a support.

Can you router out all the little dots on this black and white half tone?

Oh, yeah. Like I can take you back and show you the process and it's really just a knife that's computer controlled so I mean we have thins this intricate. We did the Space Centre in Vancouver.

And that's a nice one with subtleties.

Ohh, yeah.

With kind of a watercolour effect.

It wouldn't really work too well with our technology because that's very soft. Our signs are routered and so are crisp.

Yeah, crisp. And we'd have to do this in silk screen to get the gradations--like that.

Yeah, like that eagle guy up there on the top.

Yeah.

The owl on the front is half illuminated.

That's screened behind?

That's painted.

Oh, is it? That gradation?

Yeah.

With the technology here?

A sand blast over top of the white would kind of give that cloudy...that kind of haze to it.

Like a fog.

But it would still look black and white.

Uhm hm.

But cloudy. That sheik has a sand blasting on top of him here. Black letters on that.

But that's grayish.

Because it's a silver mirror.

See, Vera, you can read "Quality Control" under here but it's in a cloud.

I see.

Well, this one may be...

I like that.

And so we'll have the individual tree shapes and so on represented quite a bit like cut outs whereas here they were only outlined.

Hmm.

That I could see sand blasted.

Um Hmmm. Yeah. You know what would be cool if you took a watercolour and cut out all of that routered all of that with a green light and then put an acrylic behind it that went to the outer shapes. Like get it down to 2 colours

Yeah.

Or what you can do is have that image behind as a back plate and like you say where you cut this out and then router-trace around all the dark areas, sand blast that and put that over top of it and what that will do is that'll have some of these colours come through the sand blast and give it different shapes. Because the sand blast isn't opaque. It allows whatever is put behind it to show through. There are different variations here definitely. Or just sand blast this whole area that stands out. But then when you put that over top of this image these areas, these regions of different colours are going to come through.

You can sand blast them at different levels too.

You could do that too.

Yeah.

Sand blast that more because it's lighter, that a little less and that a little less.

There would be different depths you could get in this.

Like don't sand blast this at all and give this just a tiny little scuff , and sand blast that. don't even put a

I'm just thinking of that positive/negative one instead of this one might be a good idea.

Yeah. Because then we could use sandblasting for the positive and the black for the negative.

Uhm hm.

Or even just white.

But then, what if we put the text behind it? If it was sandblasted we could still see the text through it.

Mmm-mm.

Would you be able to read it?

Yeah.

What if you did the text black on the back plate with that other? We could put in a solid back plate and put the black text on the white. And then kind of have it like this ... because sandblasting is solid and dense. And look at this.

A sand blast over top of the white would kind of give that cloudy.....that kind of haze to it.

Like a fog.

But it would still look black and white.

Uhm hm.

But cloudy. That sheik has a sand blasting on top of him here. Black letters on that.

But that's grayish.

Because it's a silver mirror.

See, Vera, you can read "Quality Control" under here but it's in a cloud.

I see.

Well, this one may be....

I like that.

We have three now that we've been planning here.

I would eliminate that one.

I liked what you were saying about this--the different levels of sandblasting.

Yeah, yeah. It would be interesting. That's a sure thing. That would be perfect.

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