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 graphics therefore had to be adapted for two very different glass forms, each with its own proportions, curvature and viewing angles.

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.

The original hoarding layout was restructured into a repeating wraparound pattern suited to the proportions of the flute.

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.

The supplied letterform was enlarged and used as an abstract line composition, with three large forms wrapping around the glass. This created movement and negative space while retaining the identity of the original mark.

This gave the composition more space and made better use of the weight and shape of the whisky tumbler.

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.

The layouts were redrawn and balanced for each glass so that line weight, spacing and repetition remained coherent around the curved surface.

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