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that we mostly associate with glass, namely transparency and fragility, exploited. CREATIVE The basic materials used to make glass are silica (sand), a flux (soda or potash) and a stabiliser (for example, lime). The mixture turns into a liquid when heated to a high temperature and is then shaped through various techniques. It becomes solid when cooled. Glass is a solution and retains the random molecular structure of a liquid when it stiffens. Because it lacks a structure of interlocking crystals, it is transparent, easily USE OF GLASS shattered and deteriorates over time. Through additions to the basic recipe Civilisation/Industry, an art work in coloured glass, blown and heat-shaped with punctures, the quality, durability or workability of the produced by artist Pavel Hlava in 1983 final product is determined. Added iron gives green, selenium or gold produce red MARIANNE ELLIOTT and the addition of soda or lime results in controlled. Yet most techniques used in glass Regional Librarian, Southern Region a clear glass. During the post-industrial era making were developed before the scientific new uses for glass have been made possible. n ancient times glass was associated with revolution of the last two centuries. New glass is produced with specific proper- luxury and exclusivity and never used Glass can be coloured or colourless, ties that serve the product needs of artists, Ias functional, everyday objects. Glass monochrome or polychrome, translucent, engineers, scientists, architects and industrial- making was associated with mystery and transparent or opaque. During the first ists. Examples of contemporary applications processes were developed through careful 3000 years of glass making, other qualities are spun glass fibres for heat resistant cloth- observation of the production procedures. than transparency were sought-after and ing and heat shields for spacecraft. Only during the Industrial Revolution was valued. Only with the development of glass While glass had been extensively used as glass making understood and scientifically blowing, around 1BCE, were the qualities an industrial material, the studio glass move-

 Vessel made of diatreta glass. This complex technique involved cutting pieces with thick walls to create a net- work of geometrical motifs attached to the surface. Eastern  Scale-patterned bar, mosaic Mediterranean, Italy glass technique, Roman Empire, or Cologne, 4CE. late 1BCE to 1CE, 2.9 cm high. (Warm glass) (Making glass beads)

 Mosaic glass bowl made by fusion in a mould using different coloured glass threads. Probably made in Italy, 1BCE. (Warm glass)

 Gunnar Cyren Orrefors, Sweden, four blown and cut unique glass bowls, 1985-1986, 15cm high. (Glass: a contemporary art)

 Flask, core-formed, Egypt, New Kingdom, late 18th-19th Dynasty, 1360-1240 BCE, 11 cm high. (Making glass beads) Cape Libr., Nov/Dec 2007 38 ment was established by Harvey Littleton Mobile pressing Secondary methods in America in the 1960s. Since then glass A stream of liquid glass is passed beneath Glass may be obtained in its solid form and has increasingly been exploited as a creative metal-patterned rollers, which flatten or then reheated to shape it. The range of medium within the artist’s studio. Beautiful impress the glass surface. Float-glass (for available forms includes sheets, tubes, rods, contemporary creations can be viewed in example, window panes) is produced and ingots, grains or powder form. For second- galleries, for example, the Edge Gallery in polished while the liquid glass is moving on a ary processes simpler heat sources may be Cape Town. bed of molten tin. used, operating at lower temperatures, which Basic methods used in glass Mobile stretching is more convenient for studio craftsmen. forming The stickiness and elasticity of hot glass Lamp working enables it to be stretched. As it stretches Glass rods and tubes are reheated and Primary methods the object becomes thinner, but still retains shaped, joined or twisted. Coloured glass the inherent patterns of the individual pieces. Core-forming yields an enormous variety of effects. Since This was exclusively used in ancient times. Centrifugal force the Mesopotamians used this process for A thick core of material was built around An amount of liquid glass is placed in a bead making, it has been used continuously a metal rod in the shape of the desired mould and rotated at a speed of 3000 throughout history and is still popular today. vessel. This core was covered in hot glass rpm. The centrifugal forces push the liquid Fusing by dipping or trailing hot glass over it. This outwards to fill the mould. vessel was then rolled onto a stone surface Pieces of glass are joined together when to make it smooth. After the glass had Primary casting heated. The resulting patterns formed may annealed, the mould was removed and the Liquid glass is poured directly into a mould. then be further manipulated or shaped. vessel polished. Glass forms a skin on contact with the Bending (slumping) mould, which resists and slows down move- Glass softens and looses its rigidity when Inflation ment, so a simple mould is required. A blob of hot glass is gathered at the end of heated. When a pre-shaped disc of glass is a hollow metal tube and inflated to form a reheated, it can be reshaped over a mould. bubble. More glass can be added to expand While the Syrians already slumped glass the object. To prevent distortion the object or vessel is constantly rotated during the  forming process.

 Illustration of bead making in the studio, using the twister technique. (The new jewelry)  Veronique Monod, ‘Wall Sculpture’, 1980s, pressed glass, fused, 30cm high.  ‘Calm Sea’ (2003). Bead (Glass: a contemporary art) made by Susana Aparicio Ortiz using the twister technique. (The new jewelry)  ‘Suzanne’ - made in Lalique’s trademark frosted and opalescent glass, here converted to a light source.  ‘Ceylan’, a clear, frosted, This is one of his most famous and opalescent and blue-stained prized statuettes. vase, with parakeets perched on (Lalique) branches, moulded in low relief. Wheel-cut and engraved, 24 cm high. (Lalique)

Kaapse Bibl., Nov/Des 2007 39 THE A RTS

bowls in the 4th century, the method is still Eberle, Bettina. Creative glass techniques: Oxley, John. Stained glass in South Africa.- applied today in industry to shape architec- fusing, painting, lampwork.- Lark Bks., Waterman, 1994. c1997. tural features, or platters in the studio. Raguin, Virginia Chieffo. The history of Everett, John. Glass engraving pattern stained glass.- Thames, 2003. Bibliography book.- Guild of Master Craftsman Publ., Rossi, Sara. The collector’s guide to Cummings, Keith. A history of glass form- 2000. paperweights.- Bracken Bks., 1995 (1996 ing.- A & C Black, 2000. Five thousand years of glass.- British printing). The history of glass / Klein, D (Ed) -. Museum, 1995. Rothenberg, Polly. The complete book of creative glass art.- Allen & U, 1974. Little, Brown & Co, 2000. Fyson, Nance Lui. Decorative glass of the 19th and early 20th centuries.- David & Stained glass sourcebook.- Apple P., 2004. Stained glass sourcebook.- Apple P., 2004. Charles, 1996. Wood, Dorothy. Creative glass: decorating Further reading Garner, Philippe. Emile Gallé.- Academy glass with wire, beads and mosaic.- New Eds., 1990. Holland, 2002. Harvey Littleton. From Wikipedia. http:// Gear, Alan D. Art Nouveau glass painting: Wrigley, Lynette. Stained glass craft: get en.wikipedia.org/wiki/Harvey_Littleton [20 step-by-step projects for simply beau- started in a new craft with easy-to-follow Lalique glass. Lalique glass collecting. http:// tiful results].- David & Charles, 2003. projects for beginners.- Apple P., c1994. www.worldcollectorsnet.com/lalique/ Gilchrist, Paige. Etching glass.- Lark Bks., Tiffany glass. From Wikipedia. http:// c2000. Videos in stock en.wikipedia.org/wiki/Tiffany_glass Hammesfahr, James E. Creative glass blow- A five part series with the following titles: ing.- Freeman, 1968. Related titles in CPL stock Glass programme 1: Shaping glass. Hodge, Jessica. Lalique.- Parkgate Bks., Glass programme 2: Transparency. Anderson, Harriette. Kiln-fired glass.- 1999. Chilton, 1975. Glass programme 3: Colour. Jenkins, Cindy. Making glass beads.- Lark Glass programme 4: Bending light. Barr, Sheldon. Venetian glass: confections Bks., c1997. Glass programme 5: Strength. in glass, 1855-1914.- Abrams, c1998. Klein, Dan. Glass: a contemporary art.- Bayer, Patricia. The art of René Lalique.- Collins, 1989. Glass now. Eagle Eds., 2001. McRee, Giorgetta. Stained glass: exploring A two part series: An introduction to the Beveridge, Philippa. Warm glass: a com- new techniques and new materials.- Apple, fusing and slumping of glass. plete guide to kiln-forming techniques: 2003. fusing, slumping, casting.- Lark Bks., c2005. Note: Videos on the subject are available in Mears, Elizabeth Ryland. Flameworking: the Western Cape Provincial Library stock. Coetsee, Elbe. Craft art in South Africa.- creating glass beads, sculptures & func- Struik, 2002. tional objects.- Lark Bks., c2003. Duncan, Alastair. Masterworks of Louis Neal, Moira. Creative glass painting.- Comfort Tiffany.- Thames, 1998. David & Charles, 2002. 2 0 0 7 Featured here are a selection of glass creations by some contem- porary South African artists who Shirley Cloete have embraced African influences  Har monious lines and delicate in their work nuances of colour

David Reade  Building on classical foundations

 Elmarie van der Merwe An exploration of sculptural glass

 Sue Meyer Nelius Britz A confluence of cultures  Colour and light captured in sculpture . The two sculptures fea- tured here , Autumn and Summer, Cape Libr., Nov/Dec 2007 are from his ‘Four Leaf’ ser ies 40