This project set out to build upon the foundations, aims and objectives of Output 1 but with a new emphasis and purpose. It aimed to show how, by utilising more complex conceptual and technical processes, which nevertheless would remain within the range of a technically adventurous studio jeweller, the basic process could be transformed, offering increasingly sophisticated creative opportunities.

In the exhibition Wearing Glass at the National Glass Centre, in which 39 exhibitors from 12 countries presented an international overview of glass jewellery and body adornment, Antje Illner demonstrated how her 'slumping' technique could be extended and enriched by the introduction of more ambitious procedures. Her research focused on the development of a combination of 3D computer modelling, rapid prototyping, mould making and lost wax techniques to create cast glass objects which contained compositions of forms and images that that would be unachievable by conventional means. A key consideration was that these more complex techniques and procedures would nevertheless permit the maker to complete such refined works in a microwave oven.

Inspired by the example of Lalique and his mastery of moulded glass as a material for grand jewellery forms of the nineteenth Century, Antje turned to newly available technology. Taking as a starting point an ovoid form, her method of 3D computer modelling partnered with rapid prototyping, multiple iterations of positive and negative mould making, steaming out of waxes and melting of optical glass into resulting voids, produced internal constellations of interconnecting convex and concave forms. These were then set in silver to become wearable jewellery. Although the pursuit of more complex possibilities was in itself necessarily time-consuming, a concomitant time benefit was that such small glass objects would not need further kiln annealing.