Nine ways to finish a piece of glass.

Every decoration process below is run in-house - on equipment we own, by artisans we trained. No sub-contractors, no surprises. The piece you approve at sample stage is made by the same operators on the same equipment in the bulk run, the same week. Most of the interesting work happens when two or three processes layer on one piece - a sprayed body, a screen-printed logo, a gold-band rim, fired three times in sequence - and that's the kind of project that breaks the moment responsibility is split across vendors.

Hand engraving.

A diamond on a copper wheel, a steady hand, the soft scratch of metal on glass.

Two techniques: diamond-point freehand for organic marks, and copper-wheel for crisper lines and shaded depth. The cut catches the light at any angle and lasts the life of the piece - there is no surface coating to wear or peel.

Sandblasting & frosting.

Aluminium-oxide grit, atmospheric pressure, a vinyl mask cut on the CNC.

Our 24-cabinet sandblasting cell is the busiest decoration bay on the floor. We cut the masks ourselves from 0.1 mm pressure-sensitive vinyl, can register a four-layer artwork to ± 0.3 mm, and run two-pressure passes for depth and shading.

Chemical & acid frosting.

The fragrance-house finish. A perfectly uniform satin surface.

The piece is dipped briefly in a hydrofluoric / ammonium-bifluoride bath that etches the surface evenly. Two large temperature-controlled tanks, ventilated to spec, with PPE protocols audited annually.

Screen printing.

A mesh, a stencil, a squeegee - and inks fired at 580°C until they become part of the glass.

Our six-table screen-print line runs ceramic inks (permanent, fired) and organic inks (UV-cured, faster). Pantone-matched on the proof, calibrated on a master piece, then run with on-station QC every fifty pieces.

Laser engraving.

A focused beam, a rotating jig, a fraction of a millimetre at a time.

Two laser types on the floor: CO₂ for surface frost and shallow engraving, fibre for deeper, sharper cuts. Both are computer-controlled, with rotating jigs that handle cylindrical and conical forms automatically.

Silver coating & metallizing.

Vacuum chambers, evaporated metal, a mirror-bright finish.

Vacuum metallisation (PVD) deposits a microscopic metallic film by evaporating high-purity metal in a sealed chamber. Two chambers, one operator each, sealed by a protective top-coat that survives candles, fragrances and dishwashing.

Spray colouring.

A booth, an HVLP gun, a Pantone chip on the wall.

UV-cured lacquers and two-pack polyurethanes for interior colouring (looking through clear glass into a coloured well) or exterior spray for the full piece-tinted-glass look. Three booths, full extraction, oven-cure on a moving line.

Hand painting.

A sable brush, gold leaf, enamel paint. The slowest line on the floor.

Six artists on the bench, half of them trained in our own apprenticeship. Enamel work fired in our kilns; gold-leaf gilding and burnishing; freehand brushwork; signed and numbered on the underside. We don't take it on lightly - minimum quote is fifty pieces.

Decal & ceramic transfer.

Complex artwork, full colour, fired at 580°C until the decal disappears into the glass.

Water-slide ceramic decals print artwork in a vitrifiable ceramic ink on a thin paper carrier. We apply, fire, and the carrier burns away - leaving only the ink, permanently fused. Used everywhere from heritage hotel china to private-label spice jars.