Carving is one of the most challenging processes I do.

It is almost always on a thick piece of glass; in this case, the glass was 5/8 of an inch with a polished OG edge. It’s heavy and seems to get heavier as the day goes on.

A 1/8-inch rubber stencil with adhesive on one side is carefully applied to the backside. Hand rollers ensure the stencil lies flat on the glass. Any air bubbles are cause for concern as they may interfere with the accuracy of the design’s cutting.

Artwork is created and traced with tracing paper. Next, the design is transferred to the stencil by rubbings. Almost always, the carving is done in reverse on the back of the glass so the design can be viewed through the transparent front.

Then, the work begins.

I cut all those lines with an exacto blade by hand. With a geometric design like this one, any variance is quickly spotted. I always hold the handle with the blade in a perpendicular position to create a “clean” line when carving.

Because the design is carved to three different depths, I first mark the deepest and remove the stencil, placing it on a piece of glass in order of removal. I’ll need to replace it later when I carve the other two layers next to it to preserve a crisp line between the depths.

I begin the carving with a pressure pot and compress air with around 60 pounds of pressure. I wear a hood that I can see through and a mask over my mouth and nose.

Carving each area to the correct depth is tedious at best. One slight mistake can ruin the whole project.

I created this tabletop for a home in Richmond, Virginia, around twenty-five years ago.