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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. -
ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2
30.3 COVERs 3/18/07 2:03 PM Page 1 992-994_30.3_ADS 3/18/07 1:16 PM Page 992 01-011_30.3_ADS 3/16/07 5:18 PM Page 1 JACQUES CARCANAGUES, INC. LEEKAN DESIGNS 21 Greene Street New York, NY 10013 BEADS AND ASIAN FOLKART Jewelry, Textiles, Clothing and Baskets Furniture, Religious and Domestic Artifacts from more than twenty countries. WHOLESALE Retail Gallery 11:30 AM-7:00 PM every day & RETAIL (212) 925-8110 (212) 925-8112 fax Wholesale Showroom by appointment only 93 MERCER STREET, NEW YORK, NY 10012 (212) 431-3116 (212) 274-8780 fax 212.226.7226 fax: 212.226.3419 [email protected] E-mail: [email protected] WHOLESALE CATALOG $5 & TAX I.D. Warehouse 1761 Walnut Street El Cerrito, CA 94530 Office 510.965.9956 Pema & Thupten Fax 510.965.9937 By appointment only Cell 510.812.4241 Call 510.812.4241 [email protected] www.tibetanbeads.com 1 ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2 volumecontents 30 no. 3 Ornament features 34 2007 smithsonian craft show by Carl Little 38 candiss cole. Reaching for the Exceptional by Leslie Clark 42 yazzie johnson and gail bird. Aesthetic Companions by Diana Pardue 48 Biba Schutz 48 biba schutz. Haunting Beauties by Robin Updike Candiss Cole 38 52 mariska karasz. Modern Threads by Ashley Callahan 56 tutankhamun’s beadwork by Jolanda Bos-Seldenthuis 60 carol sauvion’s craft in america by Carolyn L.E. Benesh 64 kristina logan. Master Class in Glass Beadmaking by Jill DeDominicis Cover: BUTTERFLY PINS by Yazzie Johnson and Gail Bir d, from top to bottom: Morenci tur quoise and tufa-cast eighteen karat gold, 7.0 centimeters wide, 2005; Morenci turquoise, lapis, azurite and fourteen karat gold, 5.1 centimeters wide, 1987; Morenci turquoise and tufa-cast eighteen karat gold, 5.7 centimeters wide, 2005; Tyrone turquoise, coral and tufa- cast eighteen karat gold, 7.6 centimeters wide, 2006; Laguna agates and silver, 7.6 centimeters wide, 1986. -
Download the 2018 / 2019 Print Catalog
MOUNTAIN GLASS 2018/19 PRODUCT GUIDE MountainGlass.com 866.LAMPWORK 828.225.5599 [email protected] Order by 2:30 pm EST for guaranteed same day order shipment Artists: Shawn Henderson @hendyglass & Zariel Shore @zshoreglass • Photo: @lukewaynemedia Asheville, NC • Open Monday – Friday • 10 am to 6 pm EST At Mountain Glass we believe in conservation & preservation of our natural resources. Here is what we are doing about it. In cooperation with American Forests we will have a tree planted for every order of over $100. Over 45,000 trees planted to date! MOUNTAIN GLASS OPERATES ON 100% GREEN POWER With help from NC GreenPower Mountain Glass is now annually supporting 88,800 kWh of cleaner, renewable energy. The amount of coal consumed annually to produce this equivalent amount of energy is 71,928 lbs. (UPDATED 1/8/16) As calculated by NC Greenpower The generation of this amount of renewable energy will annually offset: • 12,000 pounds of carbon dioxide (CO2) • 37 pounds of sulfur dioxide (SO2) • 15 pounds of nitrogen oxides (NOx) The annual reduction of CO2 emissions is environmentally equivalent to: • 17,010 miles not driven OR • 413 days not driven OR • 923 trees planted By partnering with TerraPass all of our outgoing truck shipments are carbon neutral. Our glass case size shipping boxes are made with 33% recycled content! NC GREENPOWER is a statewide effort to improve the environment by using “green power,” Our office paper contains 30% recycled content electricity generated from renewable resources such as solar, wind, biomass and water. The and we recycle all paper, paperboard packaging, cardboard, glass & aluminum here in our building! non-profit NC GreenPower organization is the result of collaboration among electric utilities, environmentalists, state regulators and energy generators. -
Amber Pellegrini 206-856-9505
Eighteen omen Wof Glass 2004 Amber Pellegrini www.pellegriniglass.com 206-856-9505 26 Deborah Carlson deborahcarlson.com shootingstarglassstudio.com It’s very strange to write an article about yourself, but really, who can broadened my horizon not only in the glass industry, but also in all of better tell your tale then you? So here goes… the different and exciting ways glass is being produced. By working with fellow glass artists throughout the country and notable glass art My love for glass is rooted in my youth. I grew up with beach glass instructors, I became aware that working with other artists and shar- and church windows and have always felt very much at home when ing ideas and techniques increases your own art ability. Learning and completely surrounded by it. Trying to control glass has taught me a communication is everything. The trick is not to walk away from a lot about life. I compare working with glass to raising children; no class or a conference and create projects that mirror those of the matter how much planning and preparation you do for a piece, it instructor or the fellow artists. Instead, take those techniques that you will do what it wants to do; what it was born to do. The more you can absorb, and incorporate them into your own art. Make it your try to fight it, the more it will rebel and become a mess. The best way own interpretation of that particular technique. to control is just to sit back and enjoy the journey because, almost all the time, the outcome turns out to be better than the first vision. -
Corning's Care and Safe Handling of Glassware Application Note
Care and Safe Handling of Laboratory Glassware Care and Safe Handling of Laboratory Glassware CONTENTS Glass: The Invisible Container . 1 Glass Technical Data . 2 PYREX ® Glassware . 2 PYREXPLUS ® Glassware . 2 PYREX Low Actinic Glassware . 2 VYCOR ® Glassware . 2 Suggestions for Safe Use of PYREX Glassware . 3 Safely Using Chemicals . 3 Safely Handling Glassware . 3 Heating and Cooling . 4 Autoclaving . 4 Mixing and Stirring . 5 Using Stopcocks . 5 Joining and Separating Glass Apparatus . 5 Using Rubber Stoppers . 6 Vacuum Applications . 6 Suggestions for Safe Use of PYREXPLUS Glassware . 6 Exposure to Heat . 7 Exposure to Cold . 7 Exposure to Chemicals . 7 Exposure to Ultraviolet . 7 Exposure to Microwave . 7 Exposure to Vacuum . 7 Autoclaving . 7 Labeling and Marking . 8 Suggestions for Safe Use of Fritted Glassware . 8 Selecting Fritted Glassware . 8 Proper Care of Fritted Ware . 8 Suggestions for Safe Use of Volumetric Glassware . 9 Types of Volumetric Glassware . 9 Calibrated Glassware Markings . 9 Reading Volumetric Glassware . 9 Suggestions for Cleaning and Storing Glassware . 10 Safety Considerations . 10 Cleaning PYREX Glassware . 10 Cleaning PYREXPLUS Glassware . 12 Cleaning Cell Culture Glassware . 12 Rinsing, Drying and Storing Glassware . 13 Glass Terminology . 13 Care and Safe Handling of Laboratory Glassware GLASS: THE INVISIBLE MATERIAL Q PYREX glassware comes in a wide variety of laboratory shapes, sizes and degrees of accuracy — a design to meet From the 16th century to today, chemical researchers have used every experimental need. glass containers for a very basic reason: the glass container is transparent, almost invisible and so its contents and reactions While we feel PYREX laboratory glassware is the best all- within it are clearly visible. -
Guo, Jianyong (2016) 'Inside Painting', As Used for Chinese Snuff
Guo, Jianyong (2016) `Inside Painting', as used for Chinese snuff bottles, suggested as a new model for contemporary glass art. Doctoral thesis, University of Sunderland. Downloaded from: http://sure.sunderland.ac.uk/id/eprint/10274/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. ‘Inside Painting’, as used for Chinese snuff bottles, suggested as a new model for contemporary glass art Jianyong Guo A thesis submitted in partial fulfillment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy October 2016 1 ‘Inside Painting’,as used for Chinese snuff bottles,suggested as a new model for contemporary glass art Jianyong Guo (2016) University of Sunderland Abstract This research has been an art-based practice-led project focused on Chinese „inside painting‟ in glass art. It has attempted to create a „new model‟ for Chinese traditional inside painting through the creation of contemporary glass artworks. This is timely because Chinese academic glass teaching is emerging in universities, and cast glass techniques dominate the curriculum. The research offers an example of how traditional methods might be revitalized by one artist to extend the options for Chinese University glass teaching. Potential recipients are glass artists and students as well as curators and collectors. This research mainly used studio-based art practices, inspired by traditional inside painting of Chinese snuff bottles, traditional Chinese painting and calligraphy, influenced by Taoism, together with Western glass painting, printing and calligraphy in order to reduce some of the existing limitations of traditional methods. -
Development of the Art of Glassblowing in Ghana: Prospects and Challenges of Selected Glassblowing Units
DEVELOPMENT OF THE ART OF GLASSBLOWING IN GHANA: PROSPECTS AND CHALLENGES OF SELECTED GLASSBLOWING UNITS BY HOLMAN KWEKU MENSAH (B.A) INDUSTRIAL ART, CERAMICS A thesis submitted to the school of graduate studies, KNUST in partial fulfillment of the requirements for the award of the degree of Master of Philosophy in African Art and Culture Faculty of Fine Art, College of Art and Social Sciences. September, 2009 © 2009 Department of General Art Studies DECLARATION I hereby declare that this thesis is my own work towards the MPhil degree and that, to the best of my knowledge, it contains no material previously published by another person or material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. HOLMAN KWEKU MENSAH (20065064)................................. ............................ Student Name & ID Signature Date Certified by: DR. E.C. NYARKOH ........................................... ................................... Supervisor’s Name Signature Date Certified by: DR. JOE ADU-AGYEM ....................................... ......................................... Heads of Department (Name) Signature Date ii ABSTRACT The objectives of this study are to identify the existing operational glassblowing units in the country; to investigate and document their tools, materials, equipment and methods which are used by these glassblowing units; assess their strengths, weaknesses, opportunities and threats of the glassblowing units. The multiple case study -
Northstar Glass User's Manuel & Tips
Northstar Glass User’s Manuel & Tips Frantz Art Glass & Supply 130 West Corporate Road Shelton, WA 98584 USA Toll free 1-800-839-6712 Fax 360-427-5866 [email protected] www.FrantzArtGlass.com Page 1 of 19 Northstar Use Info.docx NOTES ON THE COMPATIBILITY AND USE OF NORTHSTAR BRAND BOROSILICATE GLASS by Robert A. Mickelsen 4/29/94 This document contains some of my personal observations and experiences with Northstar Borocolour colored glass. These are strictly my feelings and opinions and do not necessarily reflect the opinions of the manufacturer or anyone else for that matter. Northstar colors can be roughly divided into two categories: colors that strike and colors that do not strike. They can be further categorized into several color groups: reds, oranges, and yellows; the cobalt family; transparent and multi greens; opacified colors; exotics; and what I call 'pastel' colors. These categories are somewhat arbitrary and but I list them here because it demonstrates how many of the Northstar colors are derivative of each other. I will discuss them within the context of these categories. REDS, ORANGES, AND YELLOWS Northstar Ruby was the first Northstar color I tried. It is a striking color that turns an intense transparent red when re-heated. This color used to have a lot of seeds and bubbles in it, but has gotten much cleaner in recent years. Just recently, Paul Trautman has sent me samples of a 'new improved' Ruby that is cleaner and less seedy than ever before. Furthermore, this new Ruby does not 'overstrike' (turn opaque brick-red) as easily as the old Ruby did, so you can work it more. -
Fusing Fusing
® Artist Robert Wiener FusingFusing ToolsTools && AccessoriesAccessories ProductProduct CatalogCatalog www.dlartglass.com © 2019 D&L Art Glass Supply © 2019 D&L Art Glass Artist Nancy Bonig 303.449.8737 • 800.525.0940 Table of Contents About the Artwork Cover - Artist: Robert Wiener, DC Art Glass Series: Colorbar Murrine Series Title: Summer Salsa Size: 6" square (approx.) Website: www.dcartglass.com Photographer: Pete Duvall Table of Contents- Alice Benvie Gebhart Title: Distant Fog Size: 6 x 8" Website: www.alicegebhart.com Kilns ..........................................................................1-16 Tabletop Kilns .......................................................................................................... 1–3 120 Volt Kilns ............................................................................................................1-5 240 Volt Kilns ........................................................................................................ 6-12 Kiln Controllers at a Glance .....................................................................................13 Kiln Shelves .......................................................................................................... 14–15 Kiln Furniture and Accessories ................................................................................16 Kiln Working Supplies ....................................... 17-20 Primers & Shelf Paper ...............................................................................................17 Fiber Products & Release -
Boromax User Manual
© 2007 Glass Alchemy, Ltd. All Rights Reserved BOROMAX™ USER MANUAL TABLE OF CONTENTS Forward....................................................................................................................... 2 Working with Glass Alchemy Boromax™ Colors ........................................................... 2 Phase Separation, Crystal Growth and Nucleation ...................................................... 2 Torch Setup................................................................................................................. 3 Setting a Neutral Flame............................................................................................... 4 The Numbering System............................................................................................... 4 Color Groupings ......................................................................................................... 6 Color Descriptions and Tips (by group) ....................................................................... 7 Health and Safety...................................................................................................... 26 Glossary of Terms .................................................................................................... 28 Glass Alchemy, Ltd. Boromax™ User Manual Page 1 of 32 All Rights Reserved © 2007 Glass Alchemy, Ltd. FORWARD During the last six years the lampworking world has seen many changes worldwide. Glass Alchemy, Ltd. (GA) has ardently participated. During this period GA has conducted thousands -
EYE SAFETY I. Eye Hazards and Good Vision Requirements A. General
EYE SAFETY I. Eye hazards and good vision requirements A. General hazards 1. Dust and powders in the eye cause irritation and corneal scratches 2. Frit and glass flakes also cause scratches and cuts to the cornea 3. High air flow leads to eyes drying out B. Work Specific Hazards and requirements 1. Warm/Hot Glass a. IR radiation hazard from kiln/furnace/glory hole 2. Lampworking Soft Glass a. Sodium Flare Filtration Sodium Flare is a bright yellow ball of light that appears when glass is placed into the flame. It is not hazardous to the eye structures, but it does need to be filtered for clarity of vision of the working area on the glass piece. b. Contrast Enhancement Filters Contrast enhancement filters should be worn when working outside or in a brightly lit area. Because of the sun or bright work lights, the flame oftentimes becomes invisible and a good contrast enhancement filter (like the ACE glass) will allow the at least the outline of the flame to be seen. Changing backgrounds to a dark color also helps. 3. Lampworking Borosilicate Glass a. Sodium Flare Filtration Sodium Flare is a bright yellow ball of light that appears when glass is placed into the flame. It is not hazardous to the eye structures, but it does need to be filtered for clarity of vision of the working area on the glass piece. b. Intense bright light flares (from silver, gold, other metals in glass) c. IR radiation hazard from working with larger torches, larger pieces 4. Other jewelry work a. -
ART 2206 Glass Fusing 2
COMMON COURSE OUTLINE ART 2206: GLASS FUSING 2 A. COURSE DESCRIPTION: 1. 3 Credits 2. 4 Hours per Week 3. Prerequisites — Art 1125 4. Co-requisites — None 5. MnTC Goals — 6 Exploration of advanced techniques in fused and kilnformed glass. Students will create pieces that utilize fusing, slumping, sandblasting, casting, etching, and lampworking. Aesthetic concerns, technical skills, individual exploration, and experimentation will lead to a more personal and deeper understanding of the creative qualities of fused glass. The course will also include research, writing, and criticism. B. DATE LAST REVISED: May, 2013 C. OUTLINE OF MAJOR CONTENT AREAS 1. History of kiln glass 2. Advanced fusing techniques 3. Coldworking 4. Casting 5. Kiln firing techniques 6. Draping and slumping 7. Mold creation 8. Current glass art makers 9. Fundamentals of design in glass 10. Aesthetics and critical analysis D. LEARNING OUTCOMES The student will be able to: 1. Explain the basic visual elements and principles of design that are common to all works of art and demonstrate the ability to use these visual elements and principles to create effective pieces. MnTC Goal 6 (A,C,D) 2. Apply new skills in fusing, slumping, casting, cold working techniques. MnTC Goal 2(A); Goal 6 (D) 3. Participate in the entire process of designing fused and kiln formed pieces. MnTC Goal 2(B); Goal 6 (D) 4. Employ artistic design principles in developing an idea as part of the creative process in producing a final product. MnTC Goal 2 (A); Goal 6 (D) 5. Demonstrate the expressive and creative qualities of glass through the application of techniques.