Paint fill in sand-carved stone.

61 Madison Avenue, N.Y.C.

Moon gold leaf text in 1/2" laminated glass. Designer; Thiery Despond. Builder; Chilmark.

1 Central Park South

Oak Bar: Copper leaf text in front windows.

Oak Room: Sandblasted edge, lit entry sign.

Given annually to buildings who meet rigirous green-standards by the USGBC.

UV-spot-glued steel base under half inch starphire glass with raised text

OCPAC:Orange County Performance Art Center, CA: 20 pcs.:3/4"x 48"x 71" bent Lami Acid-Etched glass comprising spiral staircase. Carved face, Dichroic film back

22K Gold leafing of plastic text which was inserted into slightly carved wood veneer. Other gold-leafing and painting throughout Library.

Fabricating prototypes for the upcoming Santiago Calatrava Path Hub. NYC

Five pieces of 24"x 50" half-tone photostencils of Central Park images with an autocad rendering of the new building.Edge- lit from all sides on 3/8” glass . Other sand-carved raised-text on glass.

Etched donor names into four-hundred hand-blown goblets. Other assorted glass work. Ongoing.

"Can it all really be over after this?...Thank you so much for your help. I truly appreciate everything that you have done. Well above and beyond my expectations" Lauren Solotoff, Product Manager at MoMA

NYC.

Forty-six grit and one-hundred grit sand-carved glass.

Sandblast and paint fill in ” x 56” x 104” blue stone donor walls.

Staten Island NY. Donor Wall.

Sand-carved jerusalem stone with japanese gold leaf (dyed silver).

23K Gold leaf with a matte finish on black vinyl and painted background. Ongoing. NYC

Montana.

Deep sand-carved oak in eighteen pieces of furniture. Sandblasting wood brings out the design in the grain.

Sand-carved text in granite. Twin tower memorial, NYC

22 karat gold leaf with black shadow vinyl on wooden doors in Lowe Library.

"Lalique" sandblasted and black painted in limestone floor. NYC

Museum Of Natural History and The Hayden Planetarium Rose Center: Donor walls and room signage. Deep sand-carving and painting on half inch acid-etched laminated glass. Ongoing.

Battery Park, NYC

Bronze letter inserts into

sand-carved granite steps.

NYC

Steel letter inserts into granite sidewalks.

122 street and St. Nichols, NYC.

Sandblasted and lithochromed text. Architect; Roger Whitehouse.

1/4” starphire glass comprises the 12” x 9” x 3” waterjet cut 3d letters. UV-cured glue adhesive on edges for gallery exhibit. Smashed at show’s end…..next?

Glass Sculpture

Crystal Glass, UV-glue assembly.

12"W x 15"H

19” H x 19” W x 16” W.

Hi-lead crystal glass shapes welded together with invisible UV-cured glue.

We have plenty of ideas and experience working with contractors and architects. Our textures can be applied to backsplashes, sconces, murals, storefronts, lettering (raised and regular), our mirror collection, or serve as a painting series.

It all starts here. Whether you have a file or an idea, we will work with you to translate your image into a jewel that will best suit your needs.

Standard or original? 240 or 24 grit? Stage-carving or eight square feet at a perfectly even seventy percent frost? V-grooves or fade-outs, we can do the most challenging techniques. We have two 100 grit booths and one 220 grit booth at all times.

Our greatest honor is saluting those great souls who paved the way before us by etching their names in stone

We have volumes of experience: indoors & outdoors. From the top of Rockefeller Center at Tishman-Speyer

It starts with a rubbing or a photograph ...several preferably to get the best image to translate onto stone or glass. Then it is off to the Photoshop screen for cleaning up and assigning values. Then it is created into either a 300 dpi (for example) or a black and white image. Finally, the 3-10 mil stencil is burned, washed out and carefully blasted.

This is another area where we shine ...alone. Few companies will attempt. Precision and patience are crucial. Using the photo-stencil process or the plotter-cut method, we can calculate and wrap the resist (usually on a curved piece) to our desired pattern.

When done correctly, the bond is stronger than the glass. Weather bonding glass to glass

We do the old-fashioned style of water burnishing, today

High detail hand-painting or large area spray on glass and stone.

For those who need a non-factory original aged look, we can help. We use both sides of the glass, various sandblast resists, mirror-backing remover, paints, gold leaf, and whatever else you desire for that unique look.

Restoration, fabrication and design in architectural, stained and leaded. Dalle de verre is 1-1/4" thick for a more durable option.

We can provide you with ANY glass you need, primarily to the trade who need to have it done correctly. Shapes, holes, hot, architectural... ...

Corporate, public and private commissions ... and sometimes for a gallery.

Greek; bi-colored - reflect, refract and filter light sent from the light source. It is the most visually dynamic, viewer-interactive glass material in the world. It can come in a laminated glass sheet, or with the film on the back, which incorporates dichroic color-changing films that actually change color in full spectrum color shifts according to viewing angle. We also offer solid sheets panels. This is a non-laminated product made in multi-million dollar metal deposition chamber.

Briefly, sandblasting consists of blowing an abrasive at a surface using compressed air. Where the abrasive hits glass it roughens, or eventually erodes, the surface.

Sand blasting is used on many different materials for many different purposes. The uses range from cleaning the old paint from the Golden Gate bridge to carving on gem stones. The two main effects people are after are etching or engraving, which is a surface effect, and sandcarving where the glass is actually carved away.

Etching glass, or engraving it, refers to a technique where the glass is simply roughened to produce a translucent "white" area on the surface. This effect is produced by lightly blasting the surface with an abrasive or using hydrofluoric acid. The results can be a simple monotone design on the surface, or it can be a near-photographic rendering of a scene in shades of black and white.

Sandcarving is the term often used to describe deep multi-level abrasive etching. The design is carved in the glass and the edges of the different "stages" can create additional detail with light and shadow. Edge lighting can produce spectacular effects.

Whether you are etching or carving, the first step is to pick out a design that reflects the limits and capabilities of how you plan to blast the piece. Surface etching requires a simple "black and white" block design. Shaded or multistage carving allows more complexity.

Brian Walls Designs occupies two studios in Brooklyn, New York. The space and flexibility provided by two sandblasting booths allows us to better serve our clients - meeting tight deadlines without compromising quality in any way.

Brian Walls is personally involved in all of the art and design to ensure the highest standards of quality are met.

Our experienced and innovative design team will work closely with you to satisfy your own requirements and creative vision.

The highest concern for public safety is always addressed in the design and execution. Installations are basically maintenance free.

Our work can be found in fine galleries, private and corporate collections, and wherever art is embraced. Our work - particularly three-dimensional sculpture - must be seen to be fully appreciated. Please visit us at our commercial studio overlooking New York Harbor!

Free No Obligation Quotation Free

Competitive pricing: We keep minimal overhead so we can afford to give great pricing.

Hours:

8am – 6pm: 7 days a week. We like to work.

Shipping and Crating

All shipments of glass are fully insured. Shipping and crating fees to our customers of the United States start at a minimum of $20. Having developed a proven packaging system assures you the safety of your glass delivery to any destination.

Office Studio: 429 36th St., Brooklyn, NY 11232 - by appointment only

Waterfront Studio: 34-35th St., Bush Terminal #5, Brooklyn, NY - by appointment only

Hours: 8am – 6pm Eastern: 7 days a week. We like to work!

Phone: 718.499.1588

347.599.2505

Cell: 917.589.0955

Fax: 718.499.0911

E-mail: info@brianwalls.com

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