Functional Issue

Fall 2019 ™

A glass journal for the flameworking community

Functional Issue

Tutorials by Kurt B Bob Harley Dawg Marc Kornbluh

$9.00 U.S. $10.00 Canada Vol 17 Number 3

The Flow™/Fall 2019 The Flow™ Table of Contents Volume 17 Number 3

6 Glass Vegas 2019 by Amy Short

10 The 2019 Glass Vegas World Series of Glass by Ted Campos

16 Tips for Becoming a Successful Artistic Entrepreneur Selling Your Work During the Holidays by Jason Michael

18 Armadillo Art Glass Initiative Community Action through Glass Art by Margaret Zinser Hunt

24 Nick Deviley The Glassroots Art Show Moves to Asheville by Shawn Waggoner

29 The Flow™ Artist Profiles

30 Pipetown, USA An Interview with Joaquín Ramón Herrera by Akiko Mardon

36 Creative Flameworking Working with Borosilicate Plate Glass by Milon Townsend

Glass art collab by Josh Mazet and Billy the Kid. On the Cover Photo by SGS Photography. Glass art collab by Jerry Kelly and Joe Peters. Photo by Doug Baldwin.

www.TheFlowMagazine.com The Flow TM • Fall 2019 3 Publisher ~ Maureen James 40 The Glass Wishbone Founding Editors ~ Wil Menzies, Jennifer Quaid Your Lucky Break Copy Editor ~ Darlene Welch Text and Demonstration by Kurt B Accounting ~ Rhonda Sewell Circulation Manager ~ Kathy Gentry Advertising ~ Maureen James 46 Murrine Cabinet Knobs Graphic Artists ~ Dave Burnett Learning to Use the Stick and Snap Technique Mark Waterbury Text and Demonstration by Marc Kornbluh Contributing Artists and Writers Kurt B, Ted Campos Bob Harley Dawg, Joaquín Ramón Herrera 52 Building and Adorning a Fully Worked Mini Tube Marc Kornbluh, Akiko Mardon Using Honeycomb and Reversal Techniques Jason Michael, Amy Short Milon Townsend, Shawn Waggoner Text and Demonstration by Bob Harley Dawg Darlene Welch, Margaret Zinser Hunt ISSN 74470-28780 is published quarterly 60 Parallels Between Hot Glass and Human Experience by Glass Patterns Quarterly, Inc. 8300 Hidden Valley Road, by The Village Iterate P.O. Box 69, Westport, KY 40077 POSTMASTER: Send address 62 Advertisers’ Index changes to The Flow, 8300 Hidden Valley Road, P.O. Box 69, Westport, KY 40077 Telephone: 502-222-5631 Website: www.theflowmagazine.com E-Mail: [email protected] Subscriptions: (4 issues) $28 for one year, $52 for two years, $74 for three years, Kentucky residents, add 6% state sales tax. International Rate $48 one year, $87 two years, $124 three years. All subscriptions must be paid in U.S. dollars with an international money order or with a check drawn on a U.S. bank. Periodicals Postage Paid at Westport, KY 40077 and additional mailing offices. Sample issues U.S. $9, International $13. Artwork by Sean Witschger. Photo by Doug Baldwin. ©2019 The Flow™. Editor and staff assume no responsibility for the claims of advertisers or their services, nor do we endorse any particular business. Deadlines for Editorial Submissions The articles reflect the views of the writer, not Spring 2020 Nature necessarily those of the magazine. December 1, 2019 The Flow™ is not responsible for materials such as photographs and letters, and they will not be Summer 2020 Marble and Paperweight returned unless accompanied by a self-addressed, March 1, 2020 stamped envelope. All material will be presumed Fall 2020 Functional to be for publishing and is subject to editing unless June 1, 2020 otherwise indicated in writing. If you are interested in becoming a contributing artist for The Flow™ The Flow™ urges its readers to proceed cautiously visit www.theflowmagazine.com for a link to themes of upcoming in respect to technical information or issues, author guidelines, and submission forms. step-by-step articles. Always take proper safety precautions when working with glass.

4 The Flow TM • Fall 2019 www.TheFlowMagazine.com Starts at $2,900

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www.highvolumeoxygen.com Glass Vegas 2019

by Amy Short

lass Vegas’s third annual event, which took place in February 2019, proved that this show is not just your normal glass tradeshow, and it’s here to stay. The theme of Gthe show was More—more artists, more glass, more buyers, more fun, and more love! Coordinating dates and working closely with the Tobacco Plus Expo brought in many new buyers and made it easy for them to do all of their shopping in one trip to Vegas.

Magical Festivities and Fabulous Demos Opening night had a festive feeling with music by HIRIE and Marlon Asher, “The Ganja Farmer.” Live painters added to the magic felt on stage, but don’t think it was just a party. Many exhibitors reported selling out in those three hours! The vibe and ability to crush it doing business is one of the very things that makes Glass Vegas so special. During the second day of the event, the stage was lit with live demos from legendary artists such as Eusheen, Julie Riggs, Ryno, Blossom, Piper Dan, and Mia Shea. The third day featured demos by Salt, LaceFace, Doc, Snic, and Emily Marie. The talent of these artists was flowing off the stage, building excitement from demo to demo, as these spectacular creations were taking shape while buyers stocked their shelves with the newest and greatest glass and products around.

(Clockwise from top right) Eusheen Goines demo piece; glass art by Robert Mickelsen; Julie Riggs during her on- stage demo; Julie’s finished demo piece. Glass art photos by Doug Baldwin. Demo photo by Alexis Joy.

6 The Flow TM • Fall 2019 www.TheFlowMagazine.com (Clockwise from top) Glass Vegas Team and Smoke Shop of the Year Winners, Smitty’s & POM OC (left to right); RYNO's demo piece; glass art by Shuhbuh. Group photo by Hew Burney. Glass art photos by Doug Baldwin.

Boro Cars and a Fantastic Party The Boro Derby has become a mainstay with Glass Vegas and is not to be missed, with top artists racing their meticulously crafted boro cars for charity to benefit the Evergreen State Project. This revolutionary event travels around to different cities in the United States to qualify the fastest racing boro cars while bringing clout to the artists. The finals are held at Glass Vegas, where the winner is determined. Special thanks to Handmade for bringing the derby to the desert, since that is quite the addition to our show. The Millie Meet Up, which was brought to attendees by Dopals Opals, was the party of all parties held in a 13,000-square-foot Villa at the top of the Westgate Hotel. Hundreds of people were lining up just to have their chance to get into this epic palace! Mille masters came from all over to share their creations and jam to Marlon Asher while he did a private set in this extraordinary suite. Everyone came together to share an experience that will last a lifetime. www.TheFlowMagazine.com The Flow TM • Fall 2019 7 Marbles, Music, and a Charity Auction This year we had a marvelous winning marble made by John Bridges of Black Fire Glass and won by Danny B. Glass for the Marble Exchange. Danny also won a 6 x 6 booth and hotel room for our 2020 show. The Glass Orchestra, which was our newest addition, was a live band comprised of some very talented musicians. They played on the most beautiful glass guitars and a glass violin that were made by Nick Eggert of Glassical Creations. This was a killer ensemble that brought music and glass together and provided awesome entertainment to the show floor. JD Maplesden was one of the recipients from our 2018 charity silent auction, the Injured Artist Fund. He personally spearheaded donations that raised over $15,000 for artists who have suffered an injury or major loss. We are honored to continue to grow this fund for artists in need. The Injured Artist Fund runs solely on donations, so don’t forget to donate a piece for the next show!

(Top to bottom) Glass art collab by Robertson Glass and Hoobs Glass; attendees at the Mille Meetup party; collab demo piece by LaceFace and SALT. Event photo by MG Professional. Glass art photos by Doug Baldwin.

Closing Events Artists competed in the World Series of Glass for over $25,000 in cash and prizes by bringing their finished pieces to display. To close out the show, we also announced the winner of the coveted competition for Smoke Shop of the Year 2019. We will be taking winners from the World Series of Glass on an epic journey to Piece of Mind OC and create a special event that will bring endless marketing and new business to the shop. The ripples of positivity will continuously flow for many years to come. Follow along on our crazy adventure at Blown.Vegas. Glass Vegas is a show that is driven by the passion, success, spirit, and energy of the entire glass culture. We thrive off of each and every one of the beautiful individuals in this tight-knit community and strive to embody that essence into the soul of the show. We invite you, along with the rest of the Glass Vegas family, to join us in creating lifelong connections and memories that will forever enrich not only your business, but also your life. THE Flow™ Glass.Vegas

8 The Flow TM • Fall 2019 www.TheFlowMagazine.com www.CBS-Dichroic.com

Connect with us: wwwwww.FrantzArtGlass.com.FrantzArtGlass.com wwwww.FrantzNewsLetter.comw.FrantzNewsletter.com PH: 1-800-839-6712

www.TheFlowMagazine.com The Flow TM • Fall 2019 9

The 2019 Glass Vegas World Series of Glass

by Ted Campos Photography by Doug Baldwin

n important part of the annual Glass Vegas Expo is the World Se- ries of Glass (WSOG) competition. WSOG is one of only a few Acompetitions where artists can bring in their already finished pieces and don’t have to work under a time constraint to create their best art on the spot. Instead, they can enter their beautifully perfected finished glass art to be judged by a panel of their peers. Some of the best glass artists from all over the world come to compete for Best Artist of the Year in four categories—Solo, Collab, Millie, and Shot Glass.

A Breathtaking Display An entire section of the expo floor was dedicated to showcasing every artist’s signature handcrafted “time and effort” piece for all to see. The space is adorned with red carpet, velvet stanchions, tall gold Grecian pillars, beautiful well-lit display cases, and even masterfully hung pictures of the previous year’s winners. The art that was displayed and awarded in 2019 was breathtaking, beautiful, and unparalleled. Judging for the WSOG was done on a first, second, and third tier basis by qualified judges. For the ultimate skeptic, there was also a ballot box that allowed Glass Vegas attendees to cast their votes for a “People’s Choice” award for each category. Serious prizes were presented, with winners in all categories collectively receiving over $25,000 in cash and prizes. The trophies were pretty impressive as well. Let’s just say you couldn’t hang them around your neck!

Winners and Wrap-Ups At the culmination of the expo, the champs were revealed and crowned during an award ceremony held on the main demo stage located directly on the show floor. The crowd was bigger than expected, and they were pumped! Arrangements were made to show the entire ceremony on a humongous overhead screen for the whole show floor to see. The same video feed was live streamed to TVs outside as well as to anyone with a smart phone via YouTube. Glass Vegas Expo is a unique way of interacting with extremely talented and interesting glass artists while being transported to a new world—a world of respect, dignity, sales, and love all coupled with a festival-style atmosphere. Glass Vegas will take over the Las Vegas Ballys Hotel & Casino’s entire convention center in 2020, and I won’t be missing it. You shouldn’t either.

Visit Glass.Vegas to see the current and previous World Series of Glass winners, demos, and video recaps as well as register to attend WSOG in 2020.

10 The Flow TM • Fall 2019 www.TheFlowMagazine.com Shot Glass

Second Place Daniel Benway @piperdanglass

First Place Chelsey Dahlstrom @trapperstudio

People’s Choice Third Place Paul Taylor @paultaylorglass Shawn Ford @ford20_glass

www.TheFlowMagazine.com The Flow TM • Fall 2019 11 Mille

First Place and People’s Choice Stephen Boehme @stephen_boehme Boehme portrait provided by the artist Ian & Nadia Marrero @eon_glass

Second Place Gabriel Hodges @gabrieljhodges Ryan McCluer @ryan_mccluer Michael McCluer @michaelmccluer McCluer portraits provided by the artists

Third Place Dave Strobel @strobelglass

12 The Flow TM • Fall 2019 www.TheFlowMagazine.com

Collab

First Place Jerry Kelly @jkellyglass & Joe Peters @joepglass Peters portrait provided by the artist

Second Place Lacey Walton @lacefaceglass & Emily Marie @emilymarieglass

Third Place Kristian Merwin @kristianmerwin People’s Choice & James Lynch @hicdogg Nick Eggert @glassicalcreations & Gibbie Dowdy @licit

www.TheFlowMagazine.com The Flow TM • Fall 2019 13 Solo

Second Place Robert Raymond @drakkenglass

First Place Lacey Walton @lacefaceglass

People’s Choice Sean Witschger @gl_asshole

14 The Flow TM • Fall 2019 www.TheFlowMagazine.com LEARN FROM TOP ARTISTS IN WORLD-CLASS FACILITIES

Winter 2020 Instructors www.dlartglass.com Eusheen Goines Eric Goldschmidt Kristina Logan & Marta Edöcs Janis Miltenberger Emilio Santini www.CMOG.org Victor Trabucco

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www.TheFlowMagazine.com The Flow TM • Fall 2019 15 Tips for Becoming a Successful Artistic Entrepreneur s SellingSelling YourYour WorkWork DuringDuring thethe HolidaysHolidayss

by Jason Michael

his is the time to begin gearing up for the holiday rush. As we Social media platforms such as Pinterest and Instagram allow all know, time disappears even faster this time of year between you to promote the items you are focused on selling during the Tstudio time, holiday parties, family get-togethers, and trying to find holidays. As you drive up interest in these items, it is important to sleep amongst the chaos. Ideally, if you are able to continue the think about promotional sales for Black Friday and Cyber Monday. momentum created throughout the year, the holidays can be highly I hold an “Instagram only” sale for Cyber Monday and use my Etsy successful, allowing you to try and add new items to an already account for Black Friday. large catalog. Even though Black Friday is generally a brick-and-mortar retail sale day, you can still take advantage of people gearing up Building Interest through Limited Edition Items for their holiday shopping with online platforms. It is important Something to consider during the holiday season is to create an to remember to promote heavily for at least a month in advance annual limited edition series or item. For example, I make and sell a to drive up the interest. On the days before the SKAR advertising limited edition ornament. Platforms such as Etsy are a great place to launches, for example, you should promote your sale and items. If sell and promote these items. Each platform has its own algorithm to you are selling different items, you can showcase them individually help you promote yourself as an artist. They are flooded with a sea throughout the week as well as promote the sales, giving your tribe of other artists as well, but with persistence, time, and consistency an advanced notice. dedicated to the process, you can find success.

Art by Elise Strauss. KoiCreekBeads.com

16 The Flow TM • Fall 2019 www.TheFlowMagazine.com Another important consideration is to think of supply and de- If you are interested in acting as the retailer for your own work, mand or the scarcity of your item. Let your tribe know that you are there are several platforms for selling on a retail level including Etsy, only making 20 or 50 or whatever number of a specific item and Shopify, bigcartel, and various social feeds. These are just a few of that they are numbered, dated, and signed. This adds to the excite- the popular platforms for selling your work on a retail level. Most ment and the need for your tribe to own your limited edition items. of these won’t allow functional art, so take advantage of that and Remember, though, that if you do go this route, you have to stay make other items that still show your work and artistic expression. true to your word, so if you say you are only making 20 of said item This will also give you the ability to expose yourself to a different you must stick to that number. The item can change and vary over community of customers who love and support the arts. the years and seasons to keep this piece a consistent collectors edi- THE Flow™ tion item and keep the scarcity mindset associated with it. That will www.wyzguymedia.com drive your tribe to feel the need to buy it now, since they’ll never be able to get that item again. It is very important to stay up with Jason Michael began his glass journey in 1999 as an your social media and stay consistent with your word and posts. apprentice under a master sculptor and later became a self-taught glass artist. By 2012 he was demonstrating Dealing with Retail Orders During the Holidays the amazing art of lampworking with the Arribas Brothers Hopefully you will have developed some relationships with at Walt Disney World. Listening to podcasts and audio retailers who are interested in promoting and carrying your product books during that time gave him the desire to help new line. Here are a few tips when it comes to selling wholesale orders. glass artists with tips on studio setup, health, law, and business topics that pertain to the glass world while shar- • Shops are busy, so visit or call in advance to see what the shop ing the incredible stories of established artists. needs. Make an appointment and hold the shop to it. The WyzGuy Radio Show with Jason Michael— • Always make a few extra items to show them what you want Helping Today’s Artistic Entrepreneur is dedicated to to sell. advancing today’s glass artist through a series of edu- • Think like a retailer and provide them with a selection of $20 cational podcasts, blog posts, online video courses, and to $50 stocking stuffer items. downloadable PDF forms. These resources help establish • Put together a Christmas or holiday pack—stockings with a strong foundation in lampworking techniques as well goodies included, for example. as artistic entrepreneurial success. • Follow up before going to confirm the advance appointment you have made with the store. © Copyright 2019 by The Flow™. All rights reserved.

If we don’t have it, we can make it.

www.weaverind.comwww.weaverind.comwww.WeaverInd.com Everything we produce is made with pride by craftsman in the United States.

www.TheFlowMagazine.com The Flow TM • Fall 2019 17 Armadillo Art Glass Initiative Community Action through Glass Art

Milon Townsend and Stephan Peirce by Margaret Zinser Hunt collaboration, Tasso Vessel. Photography by Sarah Sheafe, SGS Photography

rmadillo Art Glass Initiative (AAGI) is a glassblowing and AAGI History, Inspiration in Action fundraising effort based in Austin, Texas, that has successfully Craig Lewis, an Austin functional glass artist, founded AAGI Aand impressively raised over $250,000 for Meals on Wheels Central in 2012 and serves as its Executive Director. Drawing inspiration Texas (MOWCTX) over the last six years. Borosilicate glass artists from Sean Muller, who organized the Colorado Glass Project, Lewis volunteer their time, coming together for one weekend each year saw the potential for Texas glass artists to give back to their local to create pieces that are sold in silent and live auctions at the event community. Lewis credits Nick Deviley, owner of the Glassroots and afterwards through social media. An enthusiastic public is Art Show, for his strong encouragement to schedule and organize welcome to attend to witness the amazing glass art creation, watch the first event in concert with the Glassroots Art Show in Austin in live graffiti art, listen to music, buy art from vendors, and bid on April 2013 at the Palmer Events Center. Lewis and Deviley both artwork auctions. believed the event would engage the support of the vendors and Meals on Wheels of Central Texas seeks to nourish and enrich buyers in attendance. the lives of the homebound and others in need through programs Previous to the first event, Lewis and the AAGI team carefully that promote dignity and independent living. As one of the largest searched for the right beneficiary. They chose MOWCTX because meal delivery organizations in Texas, the organization provides over of its powerful impact on the local community and because of its 3,000 meals every weekday, serving over 5,000 homebound older financial model and transparency. The organization was excited to adults and people with disabilities. The organization also manages work with the AAGI team and welcomed them as a key sponsor. That over 15 other services, including after-school food programs, in- first year’s event succeeded in raising over $15,000, a well-timed home caregiving, and home care help. Their programs are offered and significant donation to MOWCTX, that helped replenish stores free of charge with the assistance of over 7,000 generous and and much-needed funds to provide after-crisis support for those dedicated volunteers. affected by the West Fertilizer Company explosion in April 2013.

18 The Flow TM • Fall 2019 www.TheFlowMagazine.com AAGI was created with the intension to raise funds for a local 501(c)(3) organization, and Meals on Wheels Central Texas was a perfect fit. The entire AAGI enterprise, a significant effort, remains entirely staffed by volunteers. Lewis and his wife Sarah shoulder the vast majority of tasks in planning, soliciting sponsorships, in- terfacing with Meals on Wheels, recruiting and scheduling artists and volunteers, and planning the scheduling and execution of the artwork auctions. He humbly acknowledges the tremendous support of the committed network of artists, volunteers, and sponsors who donate their time and talent to ensuring each year’s success. The core team of organizers began with Luken Sheafe (Salt Glass), Micah Evans (ME), Aymie McKesson, and Johnny Glover, and over the years has shifted and grown. Now Lewis and his wife handle the vast majority of logistics, including overseeing the enor- mous family of contributors (volunteers, graffiti artists, sponsors, musicians, and demo artists) who assist with each event. Over the years, hundreds of borosilicate glass artists have selflessly volun- teered their skill, creativity, and inspiration in creating the pieces that are sold in support of feeding those in need. In 2014, AGGI’s second year, the organization once again col- laborated with the Glassroots Art Show and raised over $25,000. Lewis and his team, however, saw the crucial need to reduce the significant event space rental costs in order to increase their contribution to MOWCTX. As a result, in its third year AAGI moved to Grav Labs/St. Elmo Studios, two studios that shared a building in Austin. The larger space enabled the event to host more artists at a time, nearly doubling artist capacity. The move drastically re- duced site costs, and Lewis credits this move, along with additional sponsor relationships, with the marked increase in event proceeds, exceeding $45,000 in 2015. Grav Labs’ staff—CEO Dave Daley, President Tristan Blackett, Stephan Peirce, and Micah Evans—have become invaluable partners to AAGI, providing a safe and secure space for the last four years as well as lots of “sweat equity.” Mar- keting assistance was also provided with a strong effort from the Grav marketing team. After such significant growth, AAGI had built up strong momentum of growing support from artists, stores, and collectors buying work, and increased exposure on social media. While Lewis feared that industry and economic changes would hinder the upward trend in fundraising, he and his team made big plans to dramatically grow the event in 2017, adding more live performances from musicians and graffiti artists, vendor booths, and food trucks. During the planning for the 2017 event, Grav Labs was able to purchase the new building it needed in order to relocate. After a short period of uncertainty on whether the 2017 event could happen, the AAGI team was able to hold the event in the new Grav Labs studio. The workbenches and ventilation were completed less than a month before the event. Lewis’ apprehension was for naught, however, since the event raised an unprecedented $65,000! In 2017 and 2018, AAGI has settled into its home location at Grav Labs, providing space for more than 20 artists to work at the same time, with a total of 80 artists each year. The event has grown to include not only glass art but graffiti art, vendor booths, food trucks, and live music. The 2017 event raised $65,000, meeting Craig’s goal of raising more money than in the previous year.

CaptNCronic and Harold Cooney collaborative piece, Zanfirico Russell Westbrook Triple Double.

www.TheFlowMagazine.com The Flow TM • Fall 2019 19 Mobilizing Time and Talent Nearly all of AAGI’s success depends on the well-developed network of community members who contribute their time and expertise to this endeavor. One of the relationships valuable to AAGI is the one with Allison Key, Drew Kupps, and Jeremy Ross who organize the Michigan Glass Project (MGP). Both AAGI and MGP have seen meteoric growth since their respective starts, and the teams of each group offer each other crucial assistance. For example, Lewis helps with torch setup and other technical needs at MGP, and Key helps with the silent auctions. Both Key and Lewis jokingly mention their friendly “giving contest,” helping each other top the previous year’s donations and collectively improve the event. As connected and involved members of the glass community, they are able to bring unique skill sets and connections that contribute to the success of both AAGI and MGP. As event organizers, they both have mastered the big picture and all the little details that go into planning events of this scale. Salt Glass has been involved with AAGI since its inception, and the sales of Sheafe’s work over the last six years has raised more funds than any other artist. Not only does he create larger pieces that fetch impres- Nathan Miers (N8) sive prices at AAGI auctions, but he has created an making magic abundance of more affordable pieces as well. In 2017, on the torch. between working on other pieces, he used scrap glass to make dabbers, which were sold at auction as they were being made. Because of the popularity of this impromptu effort, Sheafe spent time before this past year’s event creating glass dabbers. Salt’s Dabber Ex- travaganza was a hit. Even as the team was organizing them for sale, supporters had formed a line, patiently waiting to get their pick. That effort alone raised almost $5,000 for AAGI in 2018. With the event having completed its sixth year of increased fundraising, sponsorship now covers the vast majority of event expenses so that all funds raised Sam Lyons of from the sale of glass art go directly to MOWCTX. Lyons Glass creating As Lewis gratefully explains: “Our sponsorships are a citrus component. crucial to the success of the event. Attendees aren’t always aware of how much our sponsors do to make the event a success. Glassroots Art Show, Profound Glass Works, ABR Imagery, Northstar Glassworks, Glass Alchemy, and Bomdiggidy Studios have all been sponsors since day one.”

Milon Townsend at work, framed by one of his pieces. Blossom Glass, Detroit, Michigan, building one of her flower components.

20 The Flow TM • Fall 2019 www.TheFlowMagazine.com Valuing Creativity and Dedication With event costs covered by sponsorship, AAGI works diligently to maximize fundraising dollars but also wants to ensure that the artists who volunteer their time and talent feel appreciated and respected. AAGI sponsors cover housing for out-of-state demo artists and provide food for them during the event. In many cases when it comes to selling the work they made, artists also provide assistance in sales, tapping into their respective follower bases and directly donating the funds to MOWCTX. AAGI organizers also choose not to sell certain pieces in the auctions, but rather offer them at a set price. This helps to preserve artist pricing and respects the contributions of the artists. Lewis acknowledges: “They do it on their own dime, on their own time. It’s important to me for these artists to be happy with how the process of selling their work takes place.” Lewis sees AAGI not just as a fundraising effort but as an opportunity to foster new enthusiasm for glass art. “When I see somebody who has never had an experience with glassblowing come in, see the artwork on the table, certainly love it, but then walk into the glassblowing area and see the glass being made, you see a total shift—the smile, the enjoyment, the engagement. You can tell that you have changed a mind about what’s going on with glass.”

Salt Glass and N8 collaboration, (Top and bottom right) Piper Dan and Salt Space RipCurl. collaborative piece, Takara Castle Rainbow RipCurl.

www.TheFlowMagazine.com The Flow TM • Fall 2019 21 Building on Past Success AAGI 2018 again took place at Grav Labs from May 18–20, 2018, and continued its impressive trajectory of growth. The event attracted many widely recognized artists, including Piper Dan, Milon Townsend, Raven Copeland, Lewis Wilson, Nathan Miers (N8), Salt Glass, Micah Evans, Don Chile Ortega, VelaG, IO Glass, and the team from the Michigan Glass Project, among others. The event included artist vendors selling their creations, glass and tool suppliers, live graffiti art, food trucks, live music throughout the event, and two parties after the glassblowing had finished on Sat- urday and Sunday. The 2018 event surpassed a major milestone in total prior fundraising, reaching over $250,000 donated to MOWCTX. “A huge highlight is bringing all of the money to Meals on Wheels,” says Lewis. “In the past six years, we have surpassed a quarter of a million dollars, which represents over 100,000 meals. I’m pretty psyched about hitting that number.” The total raised in 2018 is more than $80,000, which brings the six-year total for AAGI efforts to over $290,000. Lewis and the AAGI team are committed to topping the amount of proceeds each successive year. THE Flow™ www.armadilloartglassinitiative.com Making a difference within and beyond our communities depends on contributions large and small. AAGI encourages the contribution Nathan Miers (N8) and Sam Lyons of Lyons Glass of anyone who wants to help, be it in monetary gifts, purchasing collaborative piece sold at AAGI Live Auction. artwork, volunteering at the event, creating artwork before or during AAGI, vending, or enrolling as an event sponsor. For information on the recent 2019 AGGI event and find out how to become a part of this annual gathering, please visit the AAGI website. © Copyright 2019 by The Flow™. All rights reserved.

Advanced Flameworking, Vol. I This 191-page full-color spiral bound lampworking resource includes comprehensive color charts and samples, basic skills, problem solving, and much more.

“I devoured every page and photograph of Advanced Flameworking, Vol. I 18 years ago. It’s amazing to go through it again now and remember just how much I learned from this book! Advanced Flameworking, Vol. I is the ultimate educational text for beginning and advanced lampworkers alike. From tools and torches to technique and design, Milon lays out a foundation of knowledge that has inspired a genera- tion of creative glass artists.” www.thebluemoonpress.com Raven Copeland [email protected] [email protected] 585-315-2444

22 The Flow TM • Fall 2019 www.TheFlowMagazine.com The Michigan Glass Project was created as an opportunity for artists everywhere to give back to the community. Together we have become a testament what is possible when humans choose to give freely to a cause that extends far beyond the realms of their personal bubble. That takes trust in one another. It takes belief. It takes love. It takes hope. Together we have shown what we are capable of when we join in unison on a mission to help change the world. The children of Detroit thank you and so do we! THANK YOU!

THANK YOU TO ALL OUR 20 19 S P O NSO RS

www.TheFlowMagazine.com The Flow TM • Fall 2019 23 Kind/Calm, , 2012. by Shawn Waggoner bazooka girl collaboration Photography by Bang Le

nspired by an abiding passion for functional glass, Nick Deviley founded Glassroots Art Show in 2009 as a way to legitimize Discuss your personal background and history. How and why did Iglass pipes as an art form while adding to his ever-growing col- you fall in love with glass pipes? lection. Glassroots has become a fixture in the industry as a mul- I was born and raised in Green Bay, Wisconsin. I guess I would tifaceted event bringing together suppliers, toolmakers, high-end have been considered a jock troublemaker in high school where I artists, production blowers, distribution companies, galleries, and smoked regularly, which made for an interesting life. I also started head shops. After celebrating a decade in Madison, Wisconsin, in selling cannabis at that time. I bought my first glass pipe the day I 2019 Glassroots is moving to Asheville, North Carolina, where turned 18 at a head shop in Oshkosh. To me, glass has always comple- the trade show will be held October 7–9. mented cannabis as an upsell. An entrepreneur and self-made businessman since the age of In 2001 at age 19, I discovered that I could order glass online. 18, Deviley, now 37, began buying and selling glass pipes as a That was two years prior to Operation Pipe Dreams, the nationwide side hustle. His vast collection has recently found a home at his investigation by the U.S. government that targeted businesses selling Glassroots Gallery in Sister Bay, Wisconsin. From his farmstead, drug paraphernalia. I would place $500 to $1,000 wholesale orders where he resides with his wife, five children, and a flock of chick- from places such as 4:20 Palace and 101 North. When those boxes ens, Deviley talked with Glass Art about his abiding love of the arrived, I remember the feeling of opening the box and holding the cannabis community and culture, his expanding glass collection, glass, even though these were simple production spoons, Sherlocks, and Glassroots’ new home. and bubblers. I was hooked.

24 The Flow TM • Fall 2019 www.TheFlowMagazine.com How did the 2009 Oregon Hook Up inspire you to start We went straight to the heart of this city and moved the show into Glassroots? the Monona Terrace, a building designed by Frank Lloyd Wright. We Toke City, a wildly popular website until Facebook killed it, promoted cannabis culture and smoked in the public’s eye at a time played a huge role in the high-end functional glass market. Its directly preceding the infamous Scott Walker coming into office. owners, Mad City Don and Ninja, sent me out to the Oregon Hook Up to represent their magazine called The Glass Aficionado. The Was starting Glassroots your way of legitimizing cannabis event opened my eyes to the possibilities for functional glass. I culture and exposing the average person to it in comfortable came home, called Don, and said, “Let’s do this. Let’s put a show surrounds? on in Madison.” One of the ways. My way of legitimizing cannabis itself was After Don and I parted ways following our inaugural Great to keep it available to people. The law obviously plays a huge role Lakes Art Show, I had to come up with a new name. The moniker in how that is accomplished. Now that I have five kids, I choose “Glassroots” definitely reflects my ideology, what I hoped the trade- not to do the same things I did in my 20s, but my goal then was to show would represent at that time and to this day. It signifies that treat marijuana the same way the Wisconsin alcohol culture treated all aspects of glass will be represented, not just the hyped stuff or liquor. In my mind, marijuana is safer and healthier, and I wanted tubes or production. My dream was that this show would progress to keep it available to people. into all aspects of handmade glass art. At that time, other than the Oregon Hook Up, all other industry Early on, what were the biggest challenges of putting on Glass- shows took place in Las Vegas, Nevada, a location that is not appeal- roots, and how has that evolved over time? ing to everyone. Madison offered a healthy number of glassblow- My wife Mary, Allison Key, William Menzies, and Craig Lewis ers plus the legacy of Harvey Littleton, father of the Studio Glass played a huge role in the show’s success in the early years. The big- movement, who started the first hot glass educational programs at gest challenge has always been getting people to come to Madison, the University of Wisconsin-Madison. especially the first three years. There was a summer and a winter There was also an open attitude toward cannabis culture in CHAMPS plus a summer and winter AGE show, both in Vegas. It Madison. As soon as the Vietnam War was over, a group of people took awhile for people to see that weed had been decriminalized in who pushed for the legalization of cannabis founded the Great Madison, and as long as you weren’t doing something really silly in Midwest Harvest Festival, which is alive and well today. My wife your hotel room, things would be fine here. We never had an issue. and I attended in 2009 and 2010, and there were thousands of There were no major arrests in 10 years of Glassroots in Madison. people smoking openly and partaking of edibles. It definitely gave us a boost of confidence in bringing a counterculture show to the small city of Madison.

Banjo's first bike, 2006.

www.TheFlowMagazine.com The Flow TM • Fall 2019 25 In the beginning, we tried not to grow outside of our initial floor I no longer hold the Flame Off. It seemed many of the artists plan because the vendors needed to make money, and success is were tired of competing, and not having the Flame Off opened the based on word of mouth after a vendor leaves our show. We kept it door for dozens of people instead of just a handful to blow glass small, family friendly, and focused on the original goal of helping the each year. It also allowed me to put first-year lampworkers on a torch bread-and-butter production worker in our industry. Often they get next to Slinger or Bob Snodgrass. How cool is that, to be able to overlooked, especially now that we have social media that focuses say you blew glass next to a veteran artist? It also took the spotlight on high-end art pipes, which don’t pay the bills for any head shop off of the same people, put it on everybody, and introduced a level or 95 percent of anyone selling glass. playing field in lampworking and the trade show itself. You have to offer a proportionate number of buyers to vendors Eventually, there will be a new charitable event and recipient on the trade show floor. To get 200 individual buyers into Madison in Asheville. I’m hoping to earmark dollars to help with the opioid is extremely difficult, because it is expensive to get here and stay addiction problem. here. People had to want to go out of their way to get to this show, but I actually loved that. It set Glassroots apart. What is the Education Project, and when did that begin? In 2013 to 2014 through our business, the Glassroots Guild, my Glassroots became known for its live auctions to raise money business partner Allison Key and I brought in people to teach on an for those in need. When and why did that begin? open stage. In the last few years, these events were held upstairs We did a Flame Off in 2009, 2010, and 2011 and awarded a in the Monona Terrace in these fancy private rooms where they let $10,000 cash prize each year. Many times I was giving money to us set up the torches. people who already had money, and that bothered me. At the time, Carmen Lozar, an established female artist, was willing and the Colorado Project had been established to spread awareness of able to walk into a room of predominantly male students and a glassblowing by hosting philanthropic projects and events. I was classroom full of pipers and teach a killer workshop. The students interested in being involved—in promoting it and donating to it. loved it. The only issue was that the classes overlapped the trade This inspired me to start something similar at Glassroots. show, so they were never as well attended as I had hoped. It was Hundreds of people donated to our live and silent auctions. Show obviously difficult for people to leave their booths. One year I had attendees and the public were allowed to bid on the pieces. In the Slinger, John Kobuki, and Phil Siegel, artists who don’t customarily last three years, the money was raised in four hours and all of the leave their studios, teach classes of up to 12 students for a fee of pieces left that night, so it was a mad dash of craziness! only $450. That was definitely a Glassroots highlight from a show Second Harvest, Madison’s largest food pantry, was an easy promoter’s perspective. choice to be the recipient of funds. The organization rates high in transparency and in the amount of money they raise and actually turn over to those in need. From 2014 through 2018 we were their largest donor in the month of November, and I didn’t realize how vital these funds were until I presented my last and largest check to them for $23,000 in 2018.

Carmen Lozar, Gun Eater, 2016.

26 The Flow TM • Fall 2019 www.TheFlowMagazine.com You said it was always your goal to bridge the two worlds of art and function. Explain that philosophy. As function turns into art, the vessels that are being created attract higher dollars on the open market, especially work made by well-known artists who are pushing the boundaries of glass on a regular basis. In 2006 I was staying in a house in Arcata, California. I knew a couple of glassblowers—Mouse, who has recently passed away, and Shag. They brought me into the studio, and Banjo walked in with this crazy 18-inch, pound and a half piece to smoke out of. That was my first introduction to high-end functional art. Fast-forward a month, and Slinger is shooting Degenerate Art. In the film, Robert Mickelsen, who’s holding Chaz Pyle’s sandblasted Gazelle piece, asks why Chaz put a bowl in the piece. I remember thinking that I wouldn’t buy it if it weren’t a pipe. Not having any idea that three years later I would start a trade show, I told myself that I was going to take this stuff and bring it to as many places as I could and show it to everybody. I took the pieces I was lucky enough to purchase from Chaz, Drew, Mouse, and Banjo, when glass was still affordable from these artists, and I brought it to as many places as I could. I told them that this work would be the wave of the future.

Snic Barnes, GMO, 2012. Featured on the cover of Fall 2012 issue of The Flow magazine.

After a decade in Madison, you’re moving Glassroots to Asheville, North Carolina. Why? Allison Key, my business partner, says, “Asheville is Madison on steroids.” We were able to find a convention center located Everything you’ve done with Glassroots was inspired by your downtown with plenty of local restaurants, bars, and a hotel in close love of pipes. Describe your collection and some of the artists proximity. Many of Harvey Littleton’s former students are residents represented. of Asheville. There’s a large population of lampworkers and hot At one point, 80 percent of my vendors were trading for booth glass companies such as Mountain Glass Arts and His Glassworks costs and some years for their hotel rooms. Many artists early on in Inc., not to mention Penland School of Crafts nearby. Level 42 was their careers didn’t have the cash to do trade shows. I sold most of a big inspiration in my feeling comfortable in moving the show, the production but kept ridiculous amounts of one-offs. because I knew we had the opportunity to hold events in a really More than 500 artists are represented by the collection. I own an professional looking space. old gun by Kurt B, a meditating figure by Jahnny Rise, and many The ideas behind Glassroots haven’t change, but the show has pieces by Snic, including the last big piece he made in Philly before to grow with a buyer base, and I believe that by being on the East moving to Austin. That was the most expensive pipe I had purchased Coast in a more well-known destination we will attract more buyers. at that time at $5,500. I have Zach P’s early Bro Sticks purchased The 2019 show is already more than half full. at Easy Street Gallery, a ridiculous amount of Bearclaw including The first year there will not have an educational component, as the Space Keys set, the first Banjo Bike, and a bow and arrow by we are getting established with a new fire marshal. I want to get a feel Elks that Run. My most expensive purchase was one of Slinger’s for the building and city and have an opportunity to prove ourselves. 13 heavy bronze Assault Girl statues. The collection also contains I anticipate lampworking taking place again in 2020. There will be Ghost’s 2008 piece featuring a crucified alien and a lot of work a charitable event in 2019. Lampworking will take place at Level by Kind and CAP’N CRUNK. All of these works would never be 42, and pieces will be auctioned off at the after-party. We’re still recognized as pipes by the uneducated viewer. I’d like to add more researching which organization will be the recipient of those funds. Clinton to my collection. He’s on my top five list.

www.TheFlowMagazine.com The Flow TM • Fall 2019 27 It’s important to note that everything I have has never been used. Most of today’s collectors use the work they buy and sell it to their friends for more. That blows my mind! The people I’ve chosen to collect are real artists. They didn’t change their values or Nortel beliefs or morals to go along with what is popular today. I respect people who kept it real Manufacturing Limited and didn’t allow their artistic vision to be swayed by dab kids. Glassworking What are the primary ways that the functional glass world has changed over the Burners, Torches and last decade? Does the federal legalization of marijuana offer a positive prognosis for Glass Wet Cut Saws American glass art? The future of cannabis culture comes down to education. There are enough shop owners MINI MILON interested in supporting individual glass artists to keep it alive. When corporate America BENCH BURNER begins selling mass-produced pipes, the educated consumer will know and look for the difference. As long as there are trade shows like Glassroots and Glass Vegas that are focusing solely on the American glass artist, there’s hope. But when the art itself starts being replaced with a picture of the person who made it, we have entered the final phase of corporatization. Most pipes are made for the dab community by artists driven by what the end user wants as opposed to what the artist wants to make. One day, the pieces I collected will be sought after by places like the Smithsonian, because they were made before the look, form, and function were fashioned with a consumer in mind instead of with true artistic vision and value. THE Flow™ www.glassrootsartshow.com UNITORCH HAND TORCH

RED MAX BENCH BURNER Surface Mix or Premix Topfire photography: dougbaldwinphoto.com

Bench Burners Major • Midrange Plus Minor • Mega Minor • Midrange Red Max • Rocket Hand Torches Multimix • Unitorch Marbleslinger, Twinfuel • Ranger Wings of Icarus, 2006.  416-438-3325 nortelmfg.comwww.NortelMFG.com © Copyright 2019 by The Flow™. All rights reserved.

28 The Flow TM • Fall 2019 www.TheFlowMagazine.com The Flow™ Artist Profiles

CAPGlass x Pete Weiss capglassworks.com Instagram @peetwiceglass Photos by Carson Pennella Carson Anthony Pennella, aka CAP- Glass, has been pursuing his career in lampworking since November of 2013 and aspires to create objects in glass where the elements of aesthetic beauty, form, and function converge. When he’s not behind the torch at his home studio in Atlanta, Georgia, Carson enjoys vending and attending festivals, collaborating with other artists, and spending time with his family and friends. He also enjoys teaching lampworking in person and via his YouTube channel at youtube.com/c/capglass.

On the torch since 2001, Pete Weiss has developed his style while working alongside and collaborating with numerous artists from coast to coast. Currently based out of Lansing, Michigan, his recent work involves an updated version of classic pipe designs and shapes.

Robert Raymond Instagram @drakkenglass Photos by @dabselphoto Robert Raymond, aka Drakken Glass, was inspired to start making Venetian glass bead jewelry after acquiring a collection of soft glass marbles when he was 10. He has worked in many different mediums including ceram- ics, oil paints, photography, and film, but he was encouraged by a few of his flameworking friends to take the plunge into hot glass in 2007. Drakken Glass has been heating up the flameworking scene ever since with work featured in several publications and media companies, and he recently took home the second-place win in the solo functional category at the 2019 Glass Vegas show.

THE Flow™

www.TheFlowMagazine.com The Flow TM • Fall 2019 29 Pipetown, USA An Interview with Joaquín Ramón Herrera

Hamm, Red Aqueduct. Photo by Ariel Schulze. by Akiko Mardon

’m in the editing room with Joaquín Ramón Herrera, the director It was an interesting choice to include people relatively new to of Pipetown, USA, as he is finishing up a quick edit before our the craft. Italk. Joaquín is close to finishing his feature-length documentary Glass artists who have spent 10, 20, 30 years on the torch have film on the origins of the borosilicate glass art pipe movement in a lot of wisdom to share. They have firsthand memories of the Eugene, Oregon, and the experiences of glass artists who make them movement. We all know that, and we all agree on the value of that. today. The film is framed around interviews with sixteen working But sometimes you forget the open wonder and raw passion that glass artists. new glassblowers have—the struggles they face as they try to break into the market and the unashamed ambition. I think we need to Okay, you ready? I’m kind of flipping things around on you remember the entire spectrum of the glass community, not just the here! superstars. You are! I’ve become so used to asking the questions. At the end of my interview with Hamm, he asked me if I had ever been How did you get the idea to make Pipetown, USA? on the other end of the interview in front of the camera, and he said The original idea was Eli Mazet’s, a good friend and a busi- “You should try it.” ness partner of mine—another genius glass artist. Actually, they’re all impressive artists! That’s why they’re in the film. Some have Is Hamm one of the artists in Pipetown, USA? practiced far longer than others, but they will all blow your mind Yes. Hamm is based in Eugene, Oregon. He’s a respected glass on some level. So Eli’s idea and the budget created by Eli and Greg artist and teacher and has definitely put in his time. He works on LeFrancis of LeFrancis Glassblowing Studios in Las Vegas—that’s the lathe, makes high-end water pipes, and has amazing control. I how Pipetown, USA started. It’s kind of our pattern by now. think his exact word describing himself was “bongsmith.” Pattern? Who are the glass artists you interviewed for Pipetown, USA? The pattern that Eli and I have for working together. He does the Eli Mazet, Josh Mazet, Dellene Peralta, Hamm, Bandhu Dun- executive producer stuff—dreams up a basic idea, gets some money ham, Jason Harris (aka Jerome Baker), Greg LeFrancis, Corey Da- together to fund it, makes a couple of introductions, and hands the vie, Suzanne “Cool Hand Suuze” Tipton, Kaleb Folck, Don “Chile” idea off to me. In 2017 after I created The American Shot Glass for Ortega, Mike Philpot, Heather “Hbomb!” Scarano, Seth Sims, and Eli, we came up with the idea of shooting a film about Bob Snod- Kyle Garbis. There is a range of experience among them from two grass, a man cited by people in the local community as the original years on the torch to 40 and more. innovator and catalyst of the glass pipe movement.

30 The Flow TM • Fall 2019 www.TheFlowMagazine.com The film was originallyall about Bob. It wasn’t hard to get ac- It must have taken some doing to interview this many artists. cess to him, because I’ve been lucky enough to have worked with I drove down some long roads to talk to some of these people, him numerous times in the past through Glasscraft/Winship. Bob but that’s what you do if you want people to talk to you, to trust is a pretty open cat, just like the stories you’ll hear. Then the focus you. It’s a big ask, after all, to show up with cameras, lights, mics, evolved from there. I personally loved the notion of building the this and that, then tell them, “Now sit and share your mind, your film around the everyday experiences of working glass artists, and wisdom, your fears, all of it.” You can’t ask them to meet you at I pushed further in that direction, turning it into more of a tale about the coffee shop. It’s on you. the community rather than the narrower, though also legitimate, We had a shoestring budget, but I decided early on to invest as focus on a single person. much of my own time and money as needed. Basically, I had to get When it came down to it, I felt the bigger story was about the those interviews. That was one of the most important parts to me. movement that Bob began and the history of the glass pipe move- I wanted to center things on the stories of these glass artists, and ment in the USA. The film tracks the changes, as best it can, through that required a certain amount of effort. these interviews. Finally, it’s very much about the struggle of the working glass pipe artist in Eugene today. It explains the challenges Why the strong focus on the person, when it’s the glass we faced in the business as it shifts—with imports, with strategy. There admire? Doesn’t it risk creating the “superstars” you’ve men- are a few threads going on at the same time, but at the core are the tioned? origins and the influence of Bob Snodgrass’ pipe making and how This film still very much admires the glass. If I were presenting it created a movement—that is, a culture of art—and a job market. some flashy, glossy, smoothed-out image of a glassblower, that framing would trade on the superstar or celebrity aspect, but that’s not what is done in Pipetown, USA. The artists are shown with their self-confidence as well as their doubts. They are shown empowered with belief as well as being apprehensive of what may be. They are given their entire humanity and allowed to express it all. We readily express our awe for the glass. That isn’t hard to do, and it is awesome, but there are people behind this glass, and they aren’t made of glass. They are sweating behind that gush of flame, and their journeys, I think, make for compelling listening. I know what that feels like myself. I know what it smells like, too! I’ve cooked my hands and arms a few times.

Bob Snodgrass playing with REEFer Madness functional glass art by Bandhu Dunham. The fish on the lower left is removable and functional. Photos by Bandhu.

www.TheFlowMagazine.com The Flow TM • Fall 2019 31 So you’re a glassblower, too? How long have you been on the torch? Two and a half years. I got my first torch in March of 2017, but filmmaking and video production take up most of my time. These artists are on the grind, regularly. I still find time for the torch, but not enough. I love looking at glass, and I absolutely love being on the torch, but this is not my moment for glass. This moment is about Bob and the other artists. I’m having the time of my life making this film featuring them.

In what ways does being a glass artist yourself affect the process of shooting them? I know enough to use Didymium—sodium flare filtration—on the lens. I also understand what they are doing with the glass, and when I don’t know, I can speak their language to find out. Glass is deep lore! Knowing the techniques, the names of everything makes for much easier and more efficient communication. Also, I can anticipate moves, how close in I should be, and how fast their movement will be. I know what part of the operation to focus on and to frame. There are so many specific things to pay attention to when shooting glass. Most are obvious to me now, but it wasn’t that way in the beginning when I was newer on the torch as well as newer to capturing flameworkers on video. Shooting glass is definitely a specialty, from the particulars of how the flame presents and should be compensated for to the specific audio demands in shops full of fan hum and torch hiss. Probably most important is to know what it’s like to dream up an idea and try to manifest it in glass. To know the care involved from the first moments to the last, whether those are taking the finished work out of the kiln or sweeping it up off the shop floor.

Functional glass art by Eli Mazet. Photos by Joaquín Ramón Herrera.

You seem pretty at home in the glass world by now. Oh definitely! Glass artists here are a tight-knit community, but at the same time, very welcoming. They share, they are meticulous about giving credit where it is due, and they almost always seek to make you comfortable when in their shops. All of them truly love what they do, love glass down to their bones. I think that level of understanding and commonality can be somewhat addictive in a world where people are not connecting much of the time. Professionally, I think the rapport I’ve built over the years with many of these artists is an important factor, and I think that all comes through. I hope it does. We’ll see!

So you do the camera work and write the interview questions? Yup. I do the shooting, preproduction, production, and postpro- duction. Sometimes I bring a camera assistant on a shoot. I also edit and handle the promotion and marketing, communicating with artists—all of it, so far. When I finish, I will bring it back to Eli, Functional glass art get his thoughts on the cut. When we wrap that up, he’ll have more by Suzanna “Cool Hand Suuze” Tipton. input on distribution, screening, possibly more marketing, and other Photo by Kevin Foote. concerns. As executive producers, he and Greg share that area. I’m just the lowly filmmaker.

32 The Flow TM • Fall 2019 www.TheFlowMagazine.com The film begins just before you came to the West Coast and found the glass scene, so it begins as your story in a sense, doesn’t it? I deliberated over all that. Where to begin a story is one of the most important decisions you’ll make as a filmmaker. How well to introduce a narrator is another one. You want enough info to explain why people are listening to you and what you have to do with the topic. Not in some formats, but if you are a filmmaker—the one writing the questions, then shooting and editing the film—then yes. Who are you? Why are you talking here? The sequence you mention does its best to answer that, because until that is at least briefly addressed, people might get stuck. And it works! Ultimately, the film is a story told through a collection of firsthand stories. Mine frames the others, since I’m the filmmaker. Still, it was important to me to keep it minimal—just enough to introduce and contextualize what would follow. This story is about many things more interesting than myself.

Did you manage to mine some nuggets of insight from this lineup of artists? Yes, definitely valuable info, though gathering it was maybe not as hard as it could’ve been awhile ago. That’s actually one part of the film. As Bob Snodgrass puts it himself when I asked about the biggest evolution in glass he’d seen in his lifetime, he replied, “The end of secretiveness.” I asked the artists about many things—their original inspirations, the journey they traveled, the challenges, the future of the glass pipe movement, and specifically about what they might pass on to new arrivals plus other topics—things like helpful advice, warnings, and wisdom they have now that were gained after their time on the torch. I left it in their hands.

Functional glass art by Kaleb Folck. Photo by Wind Home Photography. Functional glass art by Mike Philpot. Photo by Wind Home Photograpy.

www.TheFlowMagazine.com The Flow TM • Fall 2019 33 Is there a consensus or a common theme? Sure, in a couple areas, but I think the more frequent and more interesting parts of the film are where you are left to form your own conclusion among differing opinions. I didn’t want to force a fake conformity. I was after the real experience, thoughts, and lessons these artists had to share. Bandhu What is your favorite part of the film? Dunham I guess the most honest answer for me is that it’s thrilling to witness a new art form and industry as it takes wing in its nascent stage. I don’t think I’ve ever had that privilege before. When I think of the Functional Glass Art movement—the pipe movement—I always think of Charn, the planet in the Chronicles of Narnia, Volume Six: The Magician’s Nephew. The ground is so fertile there, you can stick a lamppost in the soil, and it will grow. The air and land are brimming with magic and potential. I feel like that myself sometimes, as the Functional Glass Art movement thrives. Making a film that puts me in touch with that is my favorite part—all of it!

How will we see the film and when? Unfortunately, at the time of this article’s printing, I don’t have details on where we are showing it or the specific dates. Tentative plans are for September through October 2019. Please do follow the Blazing Heart Productions Instagram account, where I will be documenting the film’s progress and share information anytime I have some. As we finish, let me say thank you to all of the people who have shown an interest online and let us know they are looking forward to the release. I want them to know that this has fueled me as I am pushing through some of these very long days, just knowing that people are waiting for it. I guess I’d just wrap up by saying thanks for the interview Eli Mazet and by thanking Maureen James and The Flow™ magazine for cover- ing Pipetown, USA. I hope I see a bunch of you at the screening or out there on the Internet! THE Flow™ blazingheartproductions.com Instagram @blazingheartproductions

Artists Featured in Pipetown, USA

Corey Davie @emperial1 Hamm Bandhu Dunham @bandhudunham Kaleb Folck @kalebfolckglass Kyle Garbis N/A Hamm @hammswaterworks Jason Harris @jerome_baker Greg LeFrancis @lefrancisstudios Eli Mazet @elimazet Josh Mazet @cone12flat Don “Chile” Ortega @donchileortega Dellene Peralta @delleneperalta Mike Philpot @mphilpot1 Julie Riggs @julieriggsglass Heather “Hbomb!” Scarano @hbombglass Seth Sims @sethsims33 Mike Philpot Bob Snodgrass @bobsnodgrass1946 Suzanna “Cool Hand Suuze” Tipton @coolhandsuuze

34 The Flow TM • Fall 2019 www.TheFlowMagazine.com Josh Mazet

Jason Harris

Greg LeFrancis Julie Riggs

The work is composed of 3 volumes (cm. 33 x 25) for a total of 1,068 pages and 1,170 images and talks about artistic lampworked glass, one of the most impor- NEW BOOKS tant and ancient techniques. Volume I is by Sandro Zecchin and Volumes II and III are by Cesare Toffolo. All volumes are bilingual: Italian and English. The texts are from the ancient period up to the present day and take into consideration the presence of artistic lampworked glass in nine countries and describe the evolution of equipment and tools. These volumes represent a unique work of its kind and are proposed as a tool for consultation for research of the sector, for artists, for collectors of artistic glass and, of course, for all the fans who want to approach the in-depth knowledge of these artifacts. www.toffolo.com Swww.TheFlowMagazine.com The Flow TM • Fall 2019S 35 Pursuing Thicker Dichroic Coated Glass After I created the ribbon dancer, I had an idea about viewing thicker, flat, polished glass through the edges, probably after see- CreativeWorking Flameworking with ing Tom Patti’s work. I wanted to melt a figure into the center of Borosilicate Plate Glass a polished square of thick boro plate so that you could see inside the edges as though it were an inner space. This required me to conceptualize and build a special graphite jig.

Milon Townsend, Shock Wave

All dichroic glass is a microscopically thin coating of reflective color on a thin sheet of boro plate glass, so if you’ve used dichro, you’ve used boro plate. Since boro is harder, it likes a narrower angle of cutting wheel. The recommended angle is 105 degrees, which you can get at MacInnes Machine Tool in Rochester, New York. Next I wanted to try a much thicker dichroic coated glass and had my plate supplier send a couple of 1/2-inch-thick circles of boro plate to Coatings by Sandberg (CBS) to be dichro coated. I did a very large hanging mobile with this material, cutting the individual Milon Townsend, Ribbon Dancer featuring pieces on a water jet. I also used the thick boro for large dragon a clear body and white ribbon wings, which gave me dichro on a scale fit for a larger piece that was thick enough to have its own structural integrity.

by Milon Townsend

sing borosilicate plate glass should, in my opinion, be an absolutely normal and routine aspect in the Uvocabulary of the working torch artist. When you understand that it is not, in fact, expensive and that there are many different ways in which you can use it, it’ll transform your thinking and your work. The first time I used plate in my own work was to make a ribbon dancer. There was a real limitation to the length of rod that I could flatten well, and I wanted to work bigger and better. The plate that I used then was rolled instead of polished. I learned how to heat the rolled glass to melt away the textured chill marks, and since rolled was one-third the cost of polished, I could afford to use it. When manufacturers figured out how to make borosilicate float glass, naturally smooth instead of textured, it brought the cost way down. Boro plate is actually an affordable form of the material that every flameworker should have access to and be comfortable using. Milon Townsend, Large Dragon with thick dichro plate glass wings

36 The Flow TM • Fall 2019 www.TheFlowMagazine.com Milon Townsend, Djinn

Milon Townsend, Deco Study #15

Hammering large fragments of dichro plate glass From Flowing Lines to Percussive Sculpture At about this same time, while using the water jet at Advanced Glass Industries in Rochester, I noticed large bins of scrap borosili- was born the Fragment Series, along with many other pieces using cate plate—3- to 4-foot-long irregular pieces of glass that were 2 to the organic uniqueness of making “found” objects with which an 3 inches thick, ready to be thrown out! I couldn’t stomach it, so I artist could interact. This was the opposite process of premeditating brought my little pickup and filled it until the springs flattened out. and carefully creating a precise geometric form. These interesting Back at my shop, we began grinding and polishing these pieces into and unforeseen shapes pulled from within me an equally interest- geometric shapes for me to use in what became my Deco Series of ing array of forms, figures, and forces that led to a very different figures. Wrapped in a thin, shimmering sheet of dichroic glass, these series of pieces. figures were fused onto the geometric elements, bringing the flowing organic lines into juxtaposition with the hard-edged geometry of the Building on Lessons Learned base. Since the figure was hot fused onto the geometric element, I I had been grinding and polishing the edges of plate glass to didn’t have to worry about the glue joint ever failing. make bases for many of my sculptures, keeping them consistent After several years and dozens of Deco sculptures, I had my with the clean geometric lines of the Deco Series. While discover- fill of careful geometry and decided to try my hand at percussive ing from the Fragment Series how to break borosilicate glass and sculpture. The result was a floor full of interesting organic pieces, get a desirable outcome, I found that using the round end of a ball- some of which were still large enough to visually support a full-scale peen hammer worked best, giving me what I learned were called figure with many others that could work for smaller sculptures. Thus concoidal fracture patterns.

www.TheFlowMagazine.com The Flow TM • Fall 2019 37 During this time, I was also working with the lost wax process, and polishing required. The results were much more interesting and making molds to cast large glass sculptures in the kiln. I used a individuated than just a rectilinear form. round, heavy metal tool to break cold wax along the edges, pro- In breaking large, thick chunks with a hammer to make the found ducing an irregular, organic line quickly and effectively. This idea objects for my Fragment Series, I necessarily end up making bags persisted in my subconscious mind, and at some point, I took a and boxes of smaller chunks of thick plate, which I am loathe to borosilicate plate base and tapped it along the edges with the round, waste. While some of these are useful in and of themselves, I have metal ball tool. This produced a very pleasing edge that was very also found that fusing one onto a knapped base in vertical orientation similar to the wax, and it did so quickly and easily with no grinding produces a very effective organic environment for a natural form.

Milon Townsend, Dragon on a fragment with a knapped base

38 The Flow TM • Fall 2019 www.TheFlowMagazine.com Dagger with a ground and flame-polished blade

Allowing the Glass to Speak As I continued to work, an amazing thing became obvious to me. Using borosilicate glass for knapped bases allowed me to heat it in the kiln and fuse it to the sculpture, elimi- nating the need for time-consuming cold work. This was also better than using adhesives to laminate the pieces of glass together, since it is permanent. Being able to fuse the pieces together became an essential element of designing my work. I had experimented with grinding and polishing a narrow strip of boro plate into the shape of a knife blade. This produced something elegant and visually appealing that I was able to incorporate into my work. I was also working on a book about using dichroic coated glass in as many different ways as was possible, and my kiln working informed my awareness that it should be possible to fuse pieces of flat borosilicate glass together. I’d need a much higher temperature to do so than was typical in fusing projects using soft glass. I discovered what turned out to be a key dynamic when fusing boro plate. Due to its low coefficient of expansion, it is not very prone to cracking when cooling, but that very stiffness causes it to devitrify—that is, become cloudy—when cooling in the kiln. In the spirit of risk-taking, I removed several fused boro projects from the kiln at the top temperature I was using of 1700°F and allowed them to air cool with zero annealing. Success! There were clean, clear, crisp fused elements, some with dichroic glass embedded or sandwiched between layers of clear plate. This was the genesis of the dichroic sandwich, from which it is simple to produce what we call galaxy cane, a prerequisite to making pieces with a deep, rich sparkling effect within the mass of glass. I tried fusing a long narrow sandwich, then cold worked it into a knife blade, creating the first of the Luminous Blade Series of pieces.

From Thick to Thin My most recent use for borosilicate plate glass is very different—using very thin 3 mm- thick pieces. I have found it excellent for making elements for some of the decanters I’ve been doing for the past few years, especially the wings. By cutting it and building two parallel pieces together with an air space in between, I’ve been able to produce effective dragon and eagle wings that are useful for applications in a variety of the figures from which the decanters are made. Milon Townsend, Bat Decanter These are some of the examples of where this remarkable type of material has taken my work, without which it would not have been possible. Change your materials to change the way you think . . . absolutely! THE Flow™

Milon Townsend is a self-taught artist with over 45 yearsof experience in the field of glass artwork and education. He is known for his torch and kiln worked sculpture featuring the human form. Visit www.intuitiveglass.com or Google “Milon Townsend images” to view more of his work and go to thebluemoonpress.com for his educational materials. You can also e-mail [email protected]. The sequence presented here is excerpted from Milon’s upcoming book on Creativity.

www.TheFlowMagazine.com The Flow TM • Fall 2019 39 The Glass Wishbone ky Break Your Luc Text and Demonstration by Kurt B Photography by Kelli Catana

ishbone luck has been a popular pastime for Wcenturies. It symbolizes the promise of good luck. The saying, “Get a lucky break,” comes from this Attach 1 tradition. Ironically, there is not anything lucky about the two breakage in the world of glass . . . unless you create a 6 mm clear glass wishbone. handles to the I feel that the fate of a wishbone is to be broken, as with ends of the 3.5"- most glass items eventually. I created this tutorial because long Star White the concept of a glass wishbone is very interesting to me. I rod. hope you enjoy creating a glass wishbone whether you intend to break it or keep it as a symbol of good fortune. If you intend to play the wishbone game, please remember your safety glasses and gloves. Safety first! Gather up the 2 white from end to end, leaving a 1/4" Northstar Glassworks nub on NS-54 Star White 7 mm Borosilicate Rod, 3.5" one side. Glass Alchemy Silver Strike Frit Powder, 2 ounces Additional Glass 6 mm Clear Borosilicate Rod, 12" (2) Tools and Materials Mashing Tweezers Small Cup Shears 3 Remove the Frit Tray Small to Medium Oxy-Fuel Torch handle on the side with the nub and clean up the end.

40 The Flow TM • Fall 2019 www.TheFlowMagazine.com 4 8 Continue to Attach the sculpt the glass 6 mm handle to until you have the small patty your precursor and remove the shape. opposite handle.

Put a small amount of heat into the patty, then stretch it just a 5 little. Super-heat 9 the large side of the gather and have your mashing tweezers ready. Put a fair amount of heat into the gather without deforming it, then gently roll in the Silver Strike powder. Melt the powder in, then apply a second coat and melt that in. 10

Melt all the 6 powder smooth without deforming the shape. Mash the gather to flatten the patty at a 90-degree offset turn from the first patty. 7 This is how the piece should look at this point. Super-heat Flatten the nub. 11 the large patty and cut directly up the center with small cup shears.

Super-heat the small nub on the end. Using the mashing tweezers, squash just the nub into a flat patty.

www.TheFlowMagazine.com The Flow TM • Fall 2019 41 12 16 Repeat steps 14 and 15 on the opposing lobe.

Use the tweezers to straighten and spread the lobes. 17

Reheat the 13 wishbone.

Put a very small amount of heat over a wide area into the area just below the connecting point of the wishbone and have your mashing tweezers ready. Squash the two lobes flat at the same axis as the first small patty. 18 Using tweezers, separate the legs Put a 14 of the wishbone, medium giving it a very amount of even subtle bend. heat into one of the lobes and stretch it straight to about double the length. 19 Let the glass cool so that it’s no longer moving. This is the first Heat the step of a two-step stretch. tips and cut them at a 15 45-degree angle. Complete the stretch.

Put a nice, even, medium heat into the elongated lobe. Grab the end with the tweezers and stretch to the final length. While you do this final stretch, twist your wrist about a third of a rotation to get the wishbone to have a gentle twist. Keep it linearly straight, though.

42 The Flow TM • Fall 2019 www.TheFlowMagazine.com New from Glass Expert Webinars™

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www.TheFlowMagazine.com The Flow TM • Fall 2019 43 20 Clean up 23 the tips with heat and tweezer them into shape.

Now you’re almost done! Use the tweezers to remove any excess glass and shape the top into a curvy look. Place the 21 wishbone Congratulations! You have finished making your glass wishbone. handle on a rod rest Place the wishbone in the kiln and anneal at 1050°F for at least one or someplace that hour to remove any stress. The silver will strike, giving it a nice is fireproof and cool dried wishbone color. it down to room temp. THE Flow™ Instagram @KurtBinstagramming

Take a 10- to 15-minute break. You deserve it. When break time is over, the wishbone should be cool enough to hold.

Hold the 22 wishbone, Burlington, Vermont, native Kurt B slowly heat the handle has been flameworking glass since 2000 connection point in the when he found the craft through the glass back of the flame, and pipe culture that erupted during that time. fire-cut the handle off. He has been focusing on progressive styles of glass pipe making and creating innovative techniques and is best known for creating several limited series, including the Honey Bears, Stars and Pipes, and the Elixir Bottle Series. These limited edition pipes have created a sought after series of work that is still relevant over a decade later. Kurt B has showcased work at the Center on Contem- porary Art (COCA, Seattle, Washington), SOFA (Sculpted Object and Fine Arts, Chicago), and Art Basil (Miami, Florida). Most recently, he was featured in an Urban Arts show with Heritage Auction next to some of the best known Urban artists from all over the world. His work can be seen on Instagram @KurtBinstagramming. Several of Kurt’s more relevant pieces can be viewed at his wife’s boutique Stash N’ Stowe (@stashnstowe) in Waterbury, Vermont.

44 The Flow TM • Fall 2019 www.TheFlowMagazine.com New from Covington Glass Expert Webinars™ Purchase Forever Links to recorded Glass Expert Webinars™ classes. Included is the Purchase with a full chat between the teacher and students New User Kit who attended the live class plus all of the teacher PDF handouts. to be up and running quickly! View from any laptop or desktop computer • Grind Available for as long and as often as you like through the free Adobe Connect app. • Flatten in Go to the “Glass Expert Webinars™” link on • Facet • 12” the Glass Art home page, then the “Recorded • Bevel Webinar Links” area for a list of recorded • 18” Webinars that are currently available. Check • Polish • 24” back often for new additions.

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www.TheFlowMagazine.com The Flow TM • Fall 2019 45 Murrine Cabinet Knobs Learning To Use the Stick and Snap Technique

Northstar Glassworks Rod NS-78 Mystery Aventurine Text and Demonstration by Marc Kornbluh NS-105 Silver Creek (4 rods) Trautman Art Glass Rod ’ve always been fascinated by the idea of working with glass in the way shown 033-030 Heavy Blue Leprechaun here—creating patterns and pulling them into cane, essentially stretching the Additional Glass Rod Ipatterns vertically. This technique is one of many ways to simplify the process and White create a more complex design in one pull, rather than the longer process of building Black sections and putting them together. 10 mm Clear Punty I never quite know what I’m going to get, and it reminds me a little bit of the 14 mm Punty (2) spin art paintings we used to do on the boardwalk in Atlantic City when I was a 14 mm Clear Rod kid. It’s an excellent technique for repeating patterns, which is why it comes in so Tools and Materials handy for making cabinet knobs, where each one can be different while still keep- Tweezers Graphite Marver ing with the general aesthetic theme. Knob Findings Two-Part Epoxy Cabochon Mold

46 The Flow TM • Fall 2019 www.TheFlowMagazine.com Building the Setup Making the Cane 5 1 Attach another 10 mm punty and preheat the setup until it softens.

On the end of a 10 mm punty, attach two of the Silver Creek rods and fuse the ends. Concentrating on the left side, 6 move left to right 2 to heat and twist the setup while Preheat and pulling as little stripe one side glass as possible. with white.

It’s important to not pull the glass too thin. You will need to maintain a thickness of 10 mm to 12 mm.

Condense and Pull Down Attach two 3 more Silver Creek rod sections over the 7 white and temporarily Take a 3" fuse them in place. section of cane and punty up in the middle.

8 Heat the cane until it softens and falls.

Attach a black section over the white on one side and the Heavy Blue Leprechaun section on the opposite side.

The white in now in the center and no longer visible. Using the 9 tweezers to guide the glass, connect the two ends to form a circle.

www.TheFlowMagazine.com The Flow TM • Fall 2019 47 10 14

Condense the circle until it forms a Heat and evenly pull down the circular gather that is shaped like glass into a 10 mm cane section. a donut.

You might need to disconnect and punty up to the other side to keep it even as it forms a gather. 15 Cut the cane in two 11 pieces at the center.

Not all of the cane will be usable. I like to cut it in the center and use it from the center out on the two 14 mm punties. Garage Attach one 14 mm punty to the donut. the two cane sections.

Forming the Clear Cab 12 16 Heat the 14 mm Gently flatten rod and push the the donut by pressing glass down into the it against a graphite cabochon mold to marver. form a half dome.

13 Remove the 17 dome from the rod end and hot-seal a 10 mm rod onto the dome.

Attach the second 14 mm punty to The dome needs to be well sealed for the stick and snap to work the other side and push a little bit later. Clean up the opposite side of the dome and flatten the glass. of clear into the center of the donut. Avoid trapping a ring bubble by heating it well enough to level out the indent formed when pushing the glass into the mold. You can avoid the indent from the mold by heating enough of the glass rod and gently pushing.

48 The Flow TM • Fall 2019 www.TheFlowMagazine.com Statement of Ownership (Required by 39 USC 3685) 1. The Flow Magazine, 2. ISSN: 74470-28780, Subscribers ~ Please make sure we have your 3 Filing Date: 8-8-2019, 4. Quarterly 5. 4 issues current e-mail address for 6. 1 yr. $28, 2yr. $52, 3yr. $74, 7. 8300 Hidden Valley Road, Westport KY 40077, 8. 8300 Hidden future online delivery. Valley Rd., Westport KY 40077 9. (Publisher) Steven & Maureen James, 8300 Hidden Valley Road, Westport KY 40077, (Editor & Managing Editor) Maureen James, 8300 Hidden Valley Rd, Westport KY 40077, 10. Steven and Maureen James, 8300 Hidden Valley Road, Westport, KY Please include 40077; 11. None 12. N/A, 13. The Flow Magazine, 14. Fall 2018, Winter 2018, Spring 2019, Summer “The Flow Subscriber E-mail” 2019, 15. Extent and Nature of Circulation: in the subject line of your Average Number of Copies Each Issue During Preceding 12 Months: 15A. Total no. of copies e-mail and send to: (net press run) 2100 15B(1): 1475 15B(2): 0 15B(3): 161 15B(4): 0 15C: 1636 15D(1): 0 [email protected]. Floral bead by Shelia Davis as featured in the 15D(2): 0 15D(3): 1 15D(4): 10 15E: 11 15F: The Flow™ 2018 Winter Women in Glass issue. 1647 15G: 453 15H: 2100 15I: 99% 15. Extent and nature of Circulation: Actual no. of copies of single issue published nearest filing date: 15A: Total no. of copies (net press run): 2000 15B(1): 1291 15B(2): 0 15B(3): 144 15B(4): 0 15C: 1435 15D(1): 0 15D(2): 0 15D(3): 1 15D(4): 0 15E: 1 15F: 1436 15G: 564 15H: 2000 15I: 100% 16. Electronic Copy Circulation: Average No Copies Each Issue During Previous 12 months: 16A: 130 16B: 1766 16C: 1777 16D: 99% 16. No Copies Single Issue Published Nearest to Filing Date 16A: 121 16B: 1556 16C: 1557 16D: 100% Publication of Statement of Ownership is required and will be printed in the Fall 2019 issue of this publication. 17. I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and www.LampworkEtc.com or civil sanctions (including multiple damage and civil penalties), signed Maureen James, Publisher, Date: 8-8-2019.

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www.TheFlowMagazine.com The Flow TM • Fall 2019 49 Stick and Snap 21 18 Attach the cab Stick one of to the knob finding the cane sections with two-part epoxy. to the center of the cab.

Remember that longer curing epoxy makes for a stronger bond, so it’s worth the wait. Remove one of the cane sections from the kiln and heat just the THE Flow™ very the end to a glow, then heat the center of the cab to a slight www.kornbluhdesign.net glow and stick it to the cab. You can control the strike at this stage by heating the striking cane enough to unstrike it before you stick it. Returning it to clear before you stick and not overworking it afterward will give you the brightest strike. Troubleshooting Potential Problems Give the cane a slight pull away, bend it in one direction, then with Stick and Snap quickly bend it in the opposite direction. You need to do this the Here are some tips I have discovered to help deal with very second after you make the stick. The second bend should cre- undesirable things that can sometimes happen when you’re ate the snap, but if it doesn’t, do another quick bend in the opposite using the Stick and Snap technique. direction. • If the section that snaps off is too big, try heating less cane the next time. • If the snap leaves too little cane, heat the spot on the cab better where the cane is attached. 19 • Remember that if that spot is not hot enough, you will make a cold seal and the snap will remove the entire cane. However, don’t heat the cab too much and bury the cane in the cab. You want the sections to be on the surface. This technique takes some practice, so don’t be discour- aged. You might want to practice on a cab with a solid color Circle the center section with cane beforehand. additional cane sections, melt it all in, and gently flatten the bottom.

Be sure that the cab still fits into the mold, then disconnect and punty onto the center of the flat side. 20

Remove any Marc Kornbluh is a member of the Glass Art Society and excess glass and the American Scientific Glassblowers Society and has been reshape the lens working with glass for over twenty years. He produces one- in the mold. of-a-kind objects of art including marbles, beads, pendants, blown vessels, and cups, as well as sculptural and functional glass. His work can be found in art shows, galleries, museums, Finish the cab by flame-polishing the lens. and private collections. Marc is the owner of Lincoln Hot Glass, a studio and gallery in Lincoln, Nebraska, and produces automated oxygen systems for glassworkers with his company High Volume Oxy- gen. You can find out more about Marc and his work by visiting www.kornbluhdesign.net or Instagram @kornbluhglass.

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www.TheFlowMagazine.com The Flow TM • Fall 2019 51 Building and Adorning a Fully Worked Mini Tube Using Honeycomb and Reversal Techniques

Text and Demonstration by Bob Harley Dawg Photography by Rocky Gaines @flippins_creations

have always been very humble about sharing my knowledge and experience with others, Iand I am honored to watch them grow from my teachings. In this article, I will be giving you a step-by-step tutorial on how to build and adorn a fully worked mini tube. I typically figure out my designs using a dry erase board, then lay out all of my colors and sections that will be needed to build the piece prior to starting in order to help find a smoother process. In this demo, I will be using Honeycomb and Reversal techniques and sculpting out a solid line worked horn to match the reversals. I will also be adding a faceted opal from Dopals Opals.

Northstar Glassworks WT-001 Serendipity Wonder Tubing NS-88 Pomegranate Tubing Trautman Art Glass 033-031 Blue Stardust Rod Additional Clear Glass Rod 3 mm, 4 mm, 6 mm, and 7 mm Tools and Materials Premade Rainbow Pattern Line Work Dopals Opals Faceted Opal Firekist Glass Blow Hose and Dual Swivel Blast Shield 14 mm Graphite Female Joint Holder Mike Close Donut Mold Buddy Mansfield Joint Shaping Tool Bees-Waxed Quartz Male Joint Brass Reamer Darby Reamer Tweezers Graphite Paddle Rod Holder Marver Pad L-Marver Blow Tube Sophie Tool Cake Knife Grabbers Tongs Leather Punch Tool Mini Torch

52 The Flow TM • Fall 2019 www.TheFlowMagazine.com Skip a dot each time to better keep the heat even and prevent cracking. Two passes will make a full line of dots. Next go to the 1 other side of the first row and repeat, going top to bottom to keep the even heat base. I used 7 mm, 6 mm, 4 mm, and 3 mm dots. 5 Work in the dots using a Coat the Serendipity tubing with neutral flame. the Blue Stardust tubing.

Work the Blue Stardust in and pull it down to about a 16 mm tube for the honeycombs. I call this color that results from mixing Draw back without puffing into the blow tube until all the dots the Serendipity with the Blue Stardust “Aquatic Star.” Push the color are worked in for the best effect. rod in a downward motion against the next color to help prevent trapping any air. 2 6

Blow a bubble of the Aquatic Star big and thin.

Using a 4 mm clear rod, punty up to the canter, remove the blow tube, and open to the desired size.

3 Remember to get a clean, even, and straight opening. I made a total of 4 honeycombs for this build. 7

Start the dots on the center (equator) of the ball.

Use the 7 mm clear rod to place one dot on the center of the ball, then place the second dot 180 degrees around the ball. Keep Pull down a section of line work placing dots next to those dots until you form a straight line of dots. tubing to about 10 mm.

Keep the lines as straight as possible with even wall thickness. 4 This line work tubing is one that I prepared ahead of time. 8 4 Start with a Photos #6 & #7 spiral and puff it out a little. Add additional rows of dots, staggering each dot in-between the other already placed dots.

www.TheFlowMagazine.com The Flow TM • Fall 2019 53 Spin the line work next to the spiral, putting a small kink into the line work to begin the wig-wag. Allow it to cool for a few seconds. Spin in the opposite direction next to that wig-wag and bring the 13 line back to match to complete the wig-wag. Continue this as far as needed and end with another spiral. 9 Work the glass into a ball trying not Prep the Pomegranate tube for the to move the lines. honeycomb mouthpiece, opening straight and even for the connection.

Now it is time to switch the axis. 14 10

Attach the honeycomb evenly and apply heat to the honeycomb.

Heat until the honeycomb first starts to move, then move back to Pick the best spot, blow a hole in the bubble of Pomegranate. Heat the Pomegranate up until it gets a the center of the side of the ball, similar heat, then rock back and forth across the flame. Warm both and ream the hole open to about colors before puffing the 2 together to your desired shape. Always 12 mm diameter. work the glass until it is one piece to remove the worries of stress and breakage. 11 15 Pop a hole out of the center of the honeycomb and apply the main blow tube handle. Use a 3 mm punty rod in the center, tear off the blow tube, and clean This will be used for the rest of the build, so apply it as much up the spiral. on point as possible. 12 16

Heat up the spiral and use a Prep the other side for connecting Sophie tool to puff it out, the first half of the mini tube. even and round.

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www.TheFlowMagazine.com The Flow TM • Fall 2019 55 17 21 Add another honeycomb section evenly and work the pieces together as before.

Prep a piece of Pomegranate tube section, making a total of three sections. Pop a center 22 hole, open it up, attach a wig-wag 18 reversal section, and start working them together.

At this point, you are going to start shaping the can a little bigger than the last sections.

Round out the sections for more even wall thickness, then puff a 23 center hole and even out.

I use the Mike Close Donut mold to round out the sections. Now it is time to start building the main can.

Pop a center hole and prep for the spiral section. 24 Attach a 19 Add the spiral honeycomb and and work the a Pomegranate pieces together, section to each puffing out and other and work gathering back them together a little. evenly.

Always attach with same size holes and even thickness for the best results and even them out to keep your straight lines. 25 Flatten the Pop a center 20 glass out on the hole and attach marver pad. a blow tube, flip the piece around, pop a hole, and open for the With the glass super-hot and moving, bring it down onto the next section. marver pad gently while pushing down and spinning. Puff up off of the marver, then repeat until you get your desired shape. Be careful not to move when the glass is too cool, or you will cause stress lines that will need to be removed.

56 The Flow TM • Fall 2019 www.TheFlowMagazine.com 26 31 Open up a hole Add the on the center to Pomegranate the same size as section and work the neck you built the sections earlier. together. 27 32 Heat both Pop a center sections to hole and prep where the glass for the last honeycomb is moving and section. press them together.

Give a slight pull back and puff while spinning the sections into the fire, then pull out and puff out the weld. Repeat until the glass pieces are one without stress. Add the 33 last honeycomb section, work it 28 in, puff out, and Tear off the gather to prepare other blow tube, for flattening. clean it up, and puff the tube out to your desired shape. 34 Next puff a hole on center and open it up for the next wig-wag reversal section. 29 Add the next wig-wag reversal section, work in, Flatten the bottom of the and shape. Pomegranate and honeycomb sections.

With the Pomegranate and honeycomb sections heated up to a The sections going forward will be blown out a little bigger each moving point, lightly press down onto the marver pad while spinning time until you are at the bottom of the piece. and puff up off the marver and slightly press back down. Repeat until your get your desired shape while keeping it flat and level. A little bit of a concave bottom will help with a more sturdy sitting 30 posture and help prevent some splash. Pop a center hole and get 35 ready for the next Pomegranate section. Add the faceted opal.

www.TheFlowMagazine.com The Flow TM • Fall 2019 57 Attach a 3 mm punty to the faceted glass section, attach the trapped opal to the opposite side, and work in. 40 Pull out some 36 Pomegranate tubing to about 16 mm, pop a hole, and give a slight flare. Pull out the horn shape using the L-marver to help keep your desired shape. Using the Buddy Mansfield joint shaping tool, heat up just the flared end of the tube, then spin and compress the tool while spinning to shape the lip. Allow the glass to cool a few seconds, then heat up the next 1" section and use the tool again, compressing 41 while spinning to shape the 14 mm fixed joint. After that, I use my bees-waxed quartz male joint to check for a nice, tight fit. 37 Heat up the 14 mm graphite Use a cake knife to continue female joint holder shaping the horn. and put it onto the joint. Heat up a section of the lower horn and push in, then use a cake knife to Tear off the other side and open the hole clean and even. pull down and out making a shape like a scale. Continue all the way to 38 the top while keeping the entire horn warm with a basking flame to prevent Pick a spot cracking. and blow a bubble in the tube, then pick away the glass to help thin out for the connection. Use a leather 42 punch tool to Heat the joint and tube, then push, pull, and puff them together. place dots in Next heat up and puff out the welds in 4 different locations, one between the scales location at a time. Starting with the top of the joint, heat up the on both sides, glass joint edge and the tube, then place the joint holder with the bottom to top. end plugged up into the female joint and puff out the weld. Always remember to heat up the glass you want to move, then heat where you want it to go. After waiting about 15 seconds, repeat on the bottom and both sides. 39 43 Shape out the horn using the solid lined rod prep and sculpt.

Prepare the horn for attaching it to the main piece.

58 The Flow TM • Fall 2019 www.TheFlowMagazine.com Attach a 7 mm rod to the tip of the horn and tear off the other handle, then round and flatten the bottom to get it ready to attach. Heat up the 47 faceted opal and tube to red 44 hot and apply the same way as for the horn.

Now finish up your weld and flame-polish the punty mark.

Attach the horn to the tube. Warm up your 48 grabbers, use them to grab the bottom of the tube, and tear Heat both the tube and the horn off the blow tube. until the glass is moving. Use a push/ pull method to attach the horn to the tube and finalize the weld with your mini torch. 49 45

Pick open a hole, clean up and flatten it, then flame-polish to finish.

Grab the finished tube with your tongs and place it into the kiln to anneal. Congrats on a job well done! Create the initial bend. THE Flow™ Instagram @DawgHouseGlass Heat up the bottom of the horn and get the first initial bend in Bob Dawg works boro glass art for a the horn. Flame-polish the stress marks left on the inside edge of living and has for the past nine years to the horn. support his amazing family. He also likes to teach group classes around the world as well as one-on-one sessions. He cur- 46 rently works out of the Dream Station in Illinois with four other artists. Bob also streams live on Twitch.tv four days a week, where you can see him making all of his creations. Glass art purchased directly from Dawg House Glass includes the #DHG4LIFE warranty. If you have a accident and break a horn or chip a tooth, you simply send it to Bob, cover- ing the shipping both ways, and it will be repaired for free for Position the horn. as long as you own it and as long as it is repairable. As Bob shared, “I stand behind my work and appreciate you all for your continued support to my family and art.” Feel free to e-mail Heat the top part of the horn, being careful not to touch the tube Bob with questions at [email protected]. You can with any of the flame. Guide the horn into position using mostly find more of his work on Instagram @DawgHouseGlass and gravity for that organic look. Twitch.tv/dawghouseglass.

www.TheFlowMagazine.com The Flow TM • Fall 2019 59 Glass Expert Webinars™ Live Two-Hour Webinars Parallels Ask Your Questions Link to Class Recording Never Expires! Between

Michael Dupille Working with Castalot Lecture Hot Glass September 26 & Human Dennis Brady Kiln Sculpture October 1 and 3 Existence New The Village Iterate Gil Reynolds Mold Making Magic October 8 • Knowing the proper techniques for and intervals between reheats is important. Working in a breezy area Susan McGarry will require massive, frequent reheats to prevent cracking. More Kaleidoscope Pattern Designs Not reheating often enough with too long of an interval October 10 between reheats can kill a piece that you’re trying to save. Frequent reheats allow them to be short, hot, and sharp. Longer intervals between reheats will require longer re- Dennis Brady heats with a softer flame. Teaching Glass Art Lecture • Working in winter requires some choices. In the winter, October 17 you will have to choose between having enough ventilation and being cold or being warm and breathing bad air. Jason Harris Hmmm . . . aka Jerome Baker • Consider the best sources for discussing your work. History of Pipes Lecture Talking about work before it is done will rob you of your New October 29 drive, since the genuine response and approval of your description of the work will get you the reward without hav- Dennis Brady ing to actually complete the work. However, talking about Glass Weaving work before it is done may also get you critical insight and November 7 valuable direction, especially if you have questions about how to proceed and are talking with someone who knows more about it than do you. On the other hand, talking about Michael Dupille the work with others who know nothing about it may give Beginning Fritography you a critical new insight, since their ignorance skips all November 12 the preconceptions about what is or is not possible and ze- roes in on the goal or solution or resolution, regardless of Lisa Vogt practicability. Creative Slumping • Don’t be pleased by ignorant praise of poor work or November 19 ignorant criticism of good work. You need to develop objective standards of your own to evaluate your work. Dennis Brady • You make the most amount of effort for the least re- Combing Glass sult at the beginning of the learning curve in any new December 3 endeavor. The question is to determine whether you can emotionally and financially get to the point of reasonable rate of return before you run out of juice. Lisa Vogt • If you can get it into the oven while it’s hot, before it Fused Glass Sculptures cracks, the rules do not apply. January 14 and 16 New THE Flow™

Excerpted from the book Visit the Glass Expert Webinars™ link under Parallels Between Hot Glass and Human Existence “What’s New” at www.GlassPatterns.com for more details and local times. © Copyright 2019 by The Flow™. All rights reserved.

60 The Flow TM • Fall 2019 www.TheFlowMagazine.com Color, Tools & Supplies COE 33 and 96

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62 The Flow TM • Fall 2019 www.TheFlowMagazine.com LEARN FROM THE BEST.

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Tsuyoshi Nakamura, Hideaki Hashimoto, & Joe Gregar – ASGS 63rd Symposium Kimmo – Plazmakollab Part 4 Kaleb Folck – Plazmakollab Part 3 Nathan Belmont – Plazmakollab Part 2 Dellene Peralta – Plazmakollab Part 1 Raven Copeland – Double Dichroic Vortex Marble Ben Ramsey – Mini Rig Carmen Lozar – Sculpting Natural Forms from Borosilicate Bob Snodgrass – The Artist’s Background in Boro Shane Fero & Robert Mickelsen – Goblets Miles Parker – Basics for Creating Borosilicate Marbles Eli Mazet – Shot Glass Creation & Decoration James Yaun – Fuming with Different Torches Josh Mazet – Multiple Marble Techniques Lewis Wilson – An Old-School Approach to Sculpting Christian Luginger – Wine Glasses Using Venetian Techniques Steve Bates – Techniques for Piece Construction Berzerker – Dark Matter Clay Mold Making Freddy Ferron with James Yaun – Fume Theory & Implosion Marbles Dellene Peralta – Hollow Head Sculptures Chris Schutz – Pipemaking 101 Preston Hanna – Working with Bunsen Burners Kevin Jordan – Two-Piece Sherlock with Cold Clamp Bandhu Dunham – Creating Marble Runs Big Z – Encasing Opals & Rig Assembly Big Z – Bonus Content Suellen Fowler – Signature Perfume Bottles Chris Schutz – Glassblowing Basics Eusheen – Implosion Marbles Dan Coyle – Iconic Glass Munnys Salt – Issues Affecting the Lampworking World Mr. Gray – Signature Leaves Elbo – Signature Nessy Pieces Berzerker – Breakthrough Techniques for Dichroic Extract Micro – Millefiori from Beginning to End Micro – Millefiori Q&A Matt Eskuche – Hollow Sculpture Salt – The Salt Style Q&A Salt – Fine Frit & Carving, Eyeballs & Horns, and Marketing Tips Robert Mickelsen – Sculpting Hollow Anatomy Robert Mickelsen – Glass Photography for Idiots! Nathan (N8) Miers – Incalmo Dish Techniques Eusheen & Natey – Fillacellos, Wig-Wags, and More Banjo – Banjo’s Latest Work Lisa St. Martin – Dichroic Glass & Metallic Techniques www.TheFlowMagazine.com USE what the Pros USE ProSeries

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