Ask the Right Questions  
The More You Know, the Better the Project  
b y S t e v e S u d e t h  
ere is an example of a common  
email I get from designers at  
3:45 p.m. on Wednesdays:  
I need a piece of backpainted glass  
that has a bit of texture and some areas  
of light. Can I get it by end of the day  
Friday? Thanks!”  
There is so much that can go wrong  
with this request. I have no idea what  
color, what pattern, or what the heck  
can’t have it by Friday. This product re-  
areas of light” are, but I do know they  
quest makes perfect sense in the de-  
signer’s mind because he has a vision  
he wants to achieve with little regard to  
what glass materials actually can do. For the Aria Casino in Las Vegas, Glas-Pro worked closely with the designers to  
The important thing is to not jump to provide something private but with a lot of visibility.  
an assumption of what they want. In-  
stead, I ask pointed questions that will ACHIEVINGAVISION  
parent color interlayer.Finally,the third  
help drill down to what they want.  
Our design consultant Nicole and I piece has a direct-to-glass print on the  
recently were invited to work on a pub- No.2 surface of a lami to get the opaque  
lic transportation corridor project that color and completely transparent areas.  
This question gives me a ton of direc- had three different pieces of commis-  
This project was a great learning ex-  
tion on what type of glass they should sioned artwork that they wanted trans- perience for us as we had to figure out  
use. If the designer tells me it’s for a lated into glass. Each piece had its own how to do three different types of dec-  
backsplash, I know we are most likely design challenges and we ended up orative glass for the same project. We  
going with ¼-inch, low-iron, tempered using three different techniques to get vague design direction from our  
backpainted glass. If the designer tells achieve the artist’s intent.  
clients every day and it’s our responsi-  
me it’s for an elevator cab,I know we are The three pieces we were given had bility to funnel their request into some-  
most likely going with lami because of three separate translucency require- thing that can be made. Some requests  
safety codes. Knowing the application ments. The first was a natural land- are easier to meet than others. Some  
helps me immediately narrow down the scape with 65 percent light budgets are bigger than others. It’s our  
design options and how to achieve their transmittance, the second was a trans- job to make sure the client gets the de-  
parent color gradient with an opaque sign they want and we, the fabricators,  
Our design team has figured out that abstract pattern and the third was an make the job the way we want to. s  
you can determine the right product opaque color pattern with com-  
and manufacturing process by going pletely transparent areas. We de-  
through this flow of questioning:  
cided to do the first corridor with  
a graphic on both sides of a  
translucent white interlayer to  
give the landscape depth and  
movement. The second corridor  
was done with a blue frit on the  
No. 1 surface and a custom trans-  
Interior or exterior;  
Art and  
S t e v e S u d e t h is the  
creative director for Glas-Pro  
in Santa Fe Springs, Calif.  
USGlass, Metal & Glazing | May 2016