Interpreting Brand Elements for Engraved Glass

Not every design arrives ready for engraving.

Some projects begin with finished artwork prepared specifically for glass. Others begin with source material created for completely different surfaces, scales, and environments. In this case, the starting point was a construction hoarding design created for Bloom Construction at the Natural History Museum, alongside a separate stylised “A” supplied as an SVG graphic.

The challenge was not simply reproducing the graphics, but adapting them so they worked naturally across two very different forms of glassware.

From Hoarding Graphics to Champagne Flutes

The cog motif used across the Bloom Construction hoarding already carried a strong visual rhythm, but the original artwork had been designed for large-scale architectural graphics viewed from a distance.

On the Atelier Edition champagne flutes, the same elements needed to behave differently. The final engraving layout uses the cogs as a repeating wraparound pattern concentrated around the lower section of the bowl, allowing the composition to feel balanced while still retaining the recognisable character of the original design.

Rather than attempting to recreate the full hoarding layout literally, the pattern was restructured specifically for the proportions and viewing angles of the glass.

Using Letterforms as Pattern

The whisky glasses began with a very loose brief: a stylised handwritten “A” supplied as a standalone graphic and requested as a repeating pattern around the glass.

Rather than reducing the letter into a small repeated logo, the final layout enlarged the form and allowed it to behave more like an abstract line composition. Only three large letterforms were used around the glass, creating movement and negative space while still retaining the identity of the original mark.

This approach allowed the engraving to feel cleaner, more architectural, and better suited to the weight and shape of the whisky tumblers.

Preparing Graphics for Glass

Artwork prepared for print, signage, or digital use rarely transfers directly onto curved glass surfaces without adjustment. Line weight, spacing, repetition, and viewing angles all behave differently once translated into engraving.

For these pieces, the layouts were redrawn and balanced specifically for the shape of each glass so the finished engraving would feel considered from every angle, rather than simply applied to the surface.

The result is two related sets that share the same source material while behaving very differently in the final engraved form.