Lazy Man's Guide to Stained Glass
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Weller Pyropen GB 08 04
Weller Pyropens provide temperature variable soldering without the need for an electrical supply. Pyropens are lightweight and user friendly. A choice from 5 versions with a wide range of tips and nozzles makes them an ideal tool for maintenance and field service jobs in out of the way places. Convenient push Hot blow function, Powered by Butane gas, Pyropens offer solde- button piezo heat shrinking and ignition.* reflow soldering ring iron, hot gas blow and blowtorch and desoldering, options. They have a short heat up time and max. temperature are refuelled in seconds from a refill cylinder. 650°C A sight glass shows the level of gas in the *only Pyropen Piezo reservoir. Soldering iron Blow torch func- Heat is generated by gas passing over a cata- function, max. tion, max. tempe- temperature rature 1300°C lyst in the soldering tip or the hot air nozzle. 500°C Temperature variation is obtained by increa- sing respectively decreasing the gas flow. Pyropen WP 60 Kit An ergonomic Butane gas operated soldering iron with solder, hot blow and blow torch functions. Offers maxi- mum flexibility for use in many applications. It is tempera- ture variable within the range of 500°C to 1300°C depen- dant upon the function used. Refilling takes only a few seconds and it operates approx. 1 hour with one filling. An integral sight glass shows the level of the gas in the tank. Ignition of the gas requires an external source and the long life tips deliver rapid heat up. The hot blow nozzle supplies inert hot gas to prevent oxi- dation of non contact solder joints and is therefore suita- ble for use in solder paste applications, heat shrink and on vinyl chloride boards. -
Mold Making for Glass Art
Mold Making for Glass Art a tutorial by Dan Jenkins When Dan Jenkins retired he did not originally intend to make tools and molds for glass artists. However, his wife and friends who work in fused glass were constantly calling on the skills he developed during 30 years as a marine engineer in the Canada Navy to produce items that were needed but unavailable. He began his career on steam driven ships for which it was impossible to get parts. The engineers had to fabricate their own parts out of whatever was available to them. Dan has drawn on his knowledge of woodworking, metalworking, design, engineering and making something out of nothing. He discovered that he enjoys the challenge of designing new tools that are practical economical, and easy to use. Dan has always enjoyed teaching and spent much of his time in the navy as an instructor both at sea and onshore. Dan currently lives in Victoria B.C. with his wife, two cats, and 3 dogs. Mold Making For Glass Art by Dan Jenkins Choosing a Prototype The first projects you wish to tackle should be fairly simple because failure the first few times is Making molds for your own use or for not only possible it is probably inevitable. The reproduction is fairly easy to do and very first objects I tried to cast were self-produced satisfying. Making your own molds frees you wood blocks in the form of squares and from relying on molds made by others and triangles, simple shapes which should have allows you to tailor your mold for your own taste. -
Icom Glass International Committee Newsletter 2019
ICOM GLASS INTERNATIONAL COMMITTEE NEWSLETTER 2019 (by Teresa Medici and María Luísa Martínez, with the contribution of Ruriko Tsuchida, Naďa Kančevová, Teresa Almeida and Amy McHugh) The ICOM Glass International Committee Meeting 2019 The ICOM Glass IC met as part of the ICOM 25th GENERAL CONFERENCE in Kyoto (Japan), 1 – 7 September 2019. The ICOM Glass Annual Meeting 2019 was organised by Ruriko Tsushida, Curator in Chief of the Suntory Museum of Art, Tokyo. The theme of the meeting was “Glass Museums as Cultural Hubs”. We also organised a joint session of ICOM Glass, ICDAD and ICFA, with the following themes: “The future of tradition in the Arts, East and West”, “Presentation of Asian Art in Western Museum”, “Cross- Cultural influences of Japanese Art”, “Tradition and Innovation in the Arts and in Museum Presentation”. 1 On Monday, September 2th we attended the opening ceremony, addressed by Crown Prince Akishino. In addition to the official speeches, we had the unique opportunity to attend the Shomyo and Hora Performance by Priests of Daigo-ji Temple, and the Noh Performance. The Keynote speech by acclaimed architect Kengo Kuma (Japan) concluded the opening ceremony with a survey of the most inspiring museums designed by him, exploring the idea of “museums as forests”. After the break, the plenary session “Curating Sustainable Futures through Museums” took place. It was particularly interesting to hear Cecilia Lam, Director of the Jockey Club Museum of Climate Change, Hong Kong, and Bonita Bennett, Director of the District Six Museum, Cape Town (South Africa) speak. After lunch, we moved to Inamori Memorial Hall for the Glass Committee programme’s lectures, with presentations by ICOM Glass members on the themes “Glass Museums as Cultural Hubs” and “Updates on Glass” In the evening we attended the opening party at the Kyoto International Conference Center, during which Glass IC members had the opportunity to networking with colleagues in a friendly and informal atmosphere. -
FUSED GLASS PLAID PLATE Free Fused Glass Project
Come Join Us! FUSED GLASS PLAID PLATE Free Fused Glass Project #551 Materials List: Materials List for COE 90 or COE 96 COE 90 Item# 90905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 90915 Qty 1 Clear Sheet Glass 8 x 8 Item# 90906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 90945 Qty 1 Green Sheet Glass 8 x 8 Item# 90902 Qty 1 Light Turquoise Sheet Glass 8 x 8 COE 96 Item# 96905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 96915 Qty 1 Clear Sheet Glass 8 x 8 Item# 96906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 96945 Qty 1 Green Sheet Glass 8 x 8 Item# 96902 Qty 1 Light Turquoise Sheet Glass 8 x 8 FUSING SUPPLIES: Other Items: Item# 41513 Bullseye Shelf Paper 1 square foot or Item# 41514 Papyros Shelf Paper 1 square foot Item# 41232 Mold Curved Square (This project will work other square molds and look wonderful so do not limit yourself to just one mold.) Item# 41507 Fuser's Glue Other Materials: · Cold Polishing - (one of the following) · Grinder · Abrasive Stone · Diamond Nail File · 3M™ Diamond Coated Sanding Sponges Clean Up Supplies: · Rubbing Alcohol, Dish Washing Detergent · Cloth with very little lint (old T-shirt) Step 1 - Preparation · Grind to round each of the 4 corners of the larger square used as the base piece of glass. -
Adjustable Glass Bottle Cutter by Sbanas on April 25, 2015
technology workshop craft home food play outside costumes Adjustable Glass Bottle Cutter by sbanas on April 25, 2015 Table of Contents Adjustable Glass Bottle Cutter . 1 Intro: Adjustable Glass Bottle Cutter . 2 Step 1: Materials . 2 Step 2: Cutting And Sanding . 3 Step 3: Attach Corners . 3 Step 4: Cutting Holes And Slots . 4 Step 5: Glass Cutter . 5 Step 6: Finishing . 7 Step 7: First Try . 8 Step 8: Polyurethane . 9 Step 9: Finished . 9 Advertisements . 10 http://www.instructables.com/id/Adjustable-Glass-Bottle-Cutter/ Author:sbanas I'm 16 in Waco, Texas. I love being outside and building things, I can build anything with just a few ideas and tools. Intro: Adjustable Glass Bottle Cutter I have wanting to make a bottle cutter for a while now, just because I really like the idea of making glasses from bottles. I found a lot of designs online, but one thing they all had in common, is that none of them are adjustable. Now I want to be able to cut different types and sizes of bottles, so I came up with this design that can be adjusted for different bottles. Cutting glass bottles can be really fun, and drinking out of a glass you made is also satisfying. Plus you get to repurpose an ordinary glass bottle into something new and useful. Step 1: Materials For this project I used: - 1x4 Scraps - Glass Cutter - Polyurethane - 1/4"x2" Bolts - Wing Nuts - Epoxy - Wood Glue - Screws - Glass Bottles http://www.instructables.com/id/Adjustable-Glass-Bottle-Cutter/ Step 2: Cutting And Sanding After I decided how I was going to build it, I cut out the pieces and sanded them. -
Glass Pavilion Floorplan
MyGuide A Monroe Street Lobbey Dale Chihuly, Chandelier: Campiello del Remer #2, 1996/2006 Dale Chihuly’s “chandelier” greets visitors at the Monroe Street entrance. Chihuly’s team installed the 1300-pound hanging sculpture so that its 243 components complement the arcs of the curved walls and the Crystal Corridor that bisects the Glass Pavilion floorplan. B Gallery 5 Roman, Jar with Basket Handle, late 4th–5th century Glass The most elaborate jar of its type known from the late Eastern Roman world, this is one of thousands “As physical borders blur and of glass objects given by glass industrialist and TMA founder/benefactor Edward Drummond Libbey blend, so do notions such as Pavilion (1854–1925) of the Libbey Glass Company. He wanted the Museum to display a comprehensive program and context. This fits Since opening in August 2006, the history of glass art for the education and enjoyment the dynamic environment at the Toledo Museum of Art Glass Pavilion of the community. The Museum continues to build on has attracted a lot of attention from his vision today. Toledo Museum of Art, where around the world. This guide sheds a a wide range of collections little light on this architectural marvel are allowed to interact in new and the stellar collection it houses. C The Glass Study Gallery The Glass Study Gallery provides open storage of constellations, where workshop works not on display in the exhibition galleries. interacts with collection…and Divided into cases featuring ancient, European, American, and contemporary glass, the Study Gallery where the Museum campus allows visitors to compare many examples of similar objects, to contrast different techniques, and to enjoy interacts with neighborhood and the full range of the Museum’s varied collection. -
Catalog Ersa Soldering Irons, Soldering and Desoldering Stations, Solder Fume Extractions, Hybrid Rework Equipment and Accessori
Catalog Ersa soldering irons, soldering and desoldering stations, solder fume extractions, hybrid rework equipment and accessories Quickfinder – the alphanumerical product index Order no. page Order no. page Order no. page Order no. page 00 – 03 0C 0ICV2000HP ................21 1E035VDA068 ................5 0003B ...................... 33 0CA10-001 .................. 28 0ICV403A ...................21 1HR200-HP0A67 ............. 24 0004G ...................... 33 0CA10-002 ................. 28 0ICV4000A ..................21 1HR2000000A67 ............. 24 0006G .................... 9, 33 0CA10-1002/04. 28 0ICV4000AI .................21 1IC1100A0CA67 ..............18 0008M ........... 17 – 18, 33, 37 0CA10-2002 ................ 28 0ICV4000AIC ................21 1IC1100A00A67 ..............18 0015BDH ....................6 0CA10-4001 ................ 28 0ICV4000AICXV .............21 1IC1100VCVA67 ..............18 0045BDG ....................6 0CA10-4002 ................ 28 0IRHP100A-03 .............. 30 1IC1100V0CA67 ..............18 0055JD ......................7 0CA10-4003 ................ 28 0IRHP100A-04 .............. 30 1IC1100V00A67 ..............18 0085JD ......................7 0CA10-4004 ................ 28 0IRHP200 ................... 30 1IC1100VXTA67 ..............18 0100CDJ ............. 18 – 19, 21 0CA10-4005 ................ 28 0IRHR100A-14 ............... 24 1IC1200A00A67 .............. 17 0120CDK ................... 17 0CA10-5001. 28 0IRHR100A. 24 1IC1300000A67 .............. 17 0130CDK ................... 17 0CA10-5002 ............... -
Bullseye Glass Catalog
CATALOG BULLSEYE GLASS For Art and Architecture IMPOSSIBLE THINGS The best distinction between art and craft • A quilt of color onto which children have that I’ve ever heard came from artist John “stitched” their stories of plants and Torreano at a panel discussion I attended a animals (page 5) few years ago: • A 500-year-old street in Spain that “Craft is what we know; art is what we don’t suddenly disappears and then reappears know. Craft is knowledge; art is mystery.” in a gallery in Portland, Oregon (page 10) (Or something like that—John was talking • The infinite stories of seamstresses faster than I could write). preserved in cast-glass ghosts (page 25) The craft of glass involves a lifetime of • A tapestry of crystalline glass particles learning, but the stories that arise from that floating in space, as ethereal as the craft are what propel us into the unknown. shadows it casts (page 28) At Bullseye, the unknown and oftentimes • A magic carpet of millions of particles of alchemical aspects of glass continually push crushed glass with the artists footprints us into new territory: to powders, to strikers, fired into eternity (page 31) to reactive glasses, to developing methods • A gravity-defying vortex of glass finding like the vitrigraph and flow techniques. its way across the Pacific Ocean to Similarly, we're drawn to artists who captivate Emerge jurors (and land on the tell their stories in glass based on their cover of this catalog) exceptional skills, but even more on their We hope this catalog does more than point boundless imaginations. -
Jon Erickson Lending a Contemporary Aesthetic to Ecclesiastical Work
Art Glass Studio Profile Lending a Contemporary Jon Erickson Aesthetic to Ecclesiastical Work by Shawn Waggoner erfectly capable of producing a compassionate The Eighth Bomber Command (Re-designated 8th Christ or beloved saint, Jon Erickson lends a AF in February 1944) was activated as part of the United Ppersonal and modern touch to his ecclesiastical work. States Army Air Forces January 28, 1942, at Hunter Field Through his studio Aurora Stained Glass, Savannah, in Savannah, Georgia. Brigadier General Ira C. Eaker took Georgia, he has been exposed to some of the brightest the headquarters to England the next month to prepare for talents of the 20th century and has had the opportunity its mission of conducting aerial bombardment missions to learn many skills as a painter from one of the last against Nazi-occupied Europe. During World War II, un- classically trained glass painters, Dick Millard. “One der the leadership of such Generals as Eaker and Jimmy of the truths in life taught by Dick and others is that Doolittle, the 8th AF became the greatest air armada in true learning begins when one admits the vastness of history. At its peak, the 8th AF could dispatch more than their ignorance.” 2,000 four-engine bombers and 1,000 fighters on a single Born in Rhode Island in 1966, Erickson was raised mission. For these reasons, the 8th AF became known as in a family whose members nurtured his artistic devel- the “Mighty Eighth.” opment. He was enrolled in various youth programs The Chapel of the Fallen Eagles was built to resemble and figure drawing classes at the Rhode Island School an English chapel and is meant to give visitors a place of of Design, and his grandparents inspired his interest in quiet reflection. -
Manhattan Style” of Construction in Particu- Lar
K7QO Article 1 Manhattan Building Techniques ”Manhattan Style” of construction in particu- lar. It is my hope that this article will bring to by Chuck Adams, K7QO light some basic understanding of just what is in- This article is intended to give you an overview volved in building with this technique. To make of construction techniques for homebrewing and this article of interest for all ages and building then give significant detail on what is called the experiences, I ask for your patience while I start Manhattan Style of construction. At the begin- from the basics and work up to the more complex ning of each section is a brief paragraph outlining issues. the current topic. If you have a copy of the ARRL Handbook I recommend that you read through this material http://www.arrl.org/ for 1995 or later, please several times before building and experimenting read the first part of chapter 25 on construc- just to make sure that you have everything on tion techniques. You will note that Figures 25.10 hand before you get started. If you are like me, through 25.22 illustrate the most popular tech- you hate to start on something, be interrupted niques for building circuits. You can use these and then have to to go and find something that techniques for experimentation or for final com- you are missing or have overlooked. Plan ahead ponents of a rig or for a complete receiver, trans- and you will save a lot of valuable time. All mitter, or transceiver. These techniques consist the suggestions within this article are just that of: — suggestions. -
Download New Glass Review 15
eview 15 The Corning Museum of Glass NewGlass Review 15 The Corning Museum of Glass Corning, New York 1994 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, daB sie inner- the 1993 calendar year. halb des Kalenderjahres 1993 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1994 Alle Rechte vorbehalten, 1994 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-133-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 58 etztes Jahr an dieser Stelle beklagte ich, daB sehr viele Glaskunst- Jury Statements Ller aufgehort haben, uns Dias zu schicken - odervon vorneherein nie Zeit gefunden haben, welche zu schicken. Ich erklarte, daB auch wenn die Juroren ein bestimmtes Dia nicht fur die Veroffentlichung auswahlen, alle Dias sorgfaltig katalogisiert werden und ihnen ein fester Platz in der Forschungsbibliothek des Museums zugewiesen ast year in this space, I complained that a large number of glass wird. -
The Stained Glass Windows at Messiah Episcopal Church Were Designed and Installed by Peter Dohmen, a German Glassmaker Who Immigrated to St
The Stained Glass Windows of Messiah Episcopal Church St. Paul, Minn. The stained glass windows at Messiah Episcopal Church were designed and installed by Peter Dohmen, a German glassmaker who immigrated to St. Paul from Germany in 1951. Individual glass pieces were made in Germany in accordance with Dohmen’s design, using a technique first developed by Irish monks in the 9th and 10th centuries. The completed glass pieces were then mailed back to Dohmen’s St. Paul studio, where they were fitted together and installed. (More information about Peter Dohmen is included at the end.) Window Location There are 12 stained glass windows at Messiah. Ten are tall, narrative windows, mostly located in the sanctuary. There is also a large window in the choir loft and the St. Cecilia window overlooking the Gathering Space. Window locations are described using cardinal directions—the congregation in the sanctuary is facing north when viewing the altar, so the east wall is to the right, the west wall is to the left, and south is the back wall of the sanctuary, facing Ford Parkway. Relocated Windows The west wall in the sanctuary was originally an exterior wall, but since the church was expanded in 2005 those windows have looked out to the Gathering Space. One of these windows had to be removed in 2005 to accommodate the new west entrance doors to the sanctuary. The window depicting Christ’s resurrection was moved to the entryway bell tower, facing Ford Parkway. The window depicting Christ’s crucifixion was moved over to the resurrection window’s original position to make way for the new entrance.