National Art Experience
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Nd27arts P38-40 Copy.Indd
THE A RTS that we mostly associate with glass, namely transparency and fragility, exploited. CREATIVE The basic materials used to make glass are silica (sand), a flux (soda or potash) and a stabiliser (for example, lime). The mixture turns into a liquid when heated to a high temperature and is then shaped through various techniques. It becomes solid when cooled. Glass is a solution and retains the random molecular structure of a liquid when it stiffens. Because it lacks a structure of interlocking crystals, it is transparent, easily USE OF GLASS shattered and deteriorates over time. Through additions to the basic recipe Civilisation/Industry, an art work in coloured glass, blown and heat-shaped with punctures, the quality, durability or workability of the produced by artist Pavel Hlava in 1983 final product is determined. Added iron gives green, selenium or gold produce red MARIANNE ELLIOTT and the addition of soda or lime results in controlled. Yet most techniques used in glass Regional Librarian, Southern Region a clear glass. During the post-industrial era making were developed before the scientific new uses for glass have been made possible. n ancient times glass was associated with revolution of the last two centuries. New glass is produced with specific proper- luxury and exclusivity and never used Glass can be coloured or colourless, ties that serve the product needs of artists, Ias functional, everyday objects. Glass monochrome or polychrome, translucent, engineers, scientists, architects and industrial- making was associated with mystery and transparent or opaque. During the first ists. Examples of contemporary applications processes were developed through careful 3000 years of glass making, other qualities are spun glass fibres for heat resistant cloth- observation of the production procedures. -
Glass Mosaic Tb136
Glass Mosaic Installation Technical Bulletin Category: Tiling Keywords: Glass Mosaic, Tile, Thin Set, Grout Glass mosaics bring a beautiful look to any surface. Glass Mosaics come in different types, sizes, colors and patterns and are used in residential and commercial projects on backsplashes above sink, bathrooms, showers, and fireplaces. There are 3 different types of glass tile; cast glass tile, fused glass tile, and low- temperature-coated glass tile as per ANSI A137.2 standard. Typically glass mosaics are larger than ¾”x ¾” and smaller than 3”x3”. Many questions have come up on which setting materials to use for a long lasting glass mosaic installation. In this technical bulletin will help you to select the appropriate Merkrete products for setting glass mosaics. Considerations to take before installing glass mosaics: Substrates All substrates should be plumb and true, substrate deviation should not exceed 1/8” in 10’ or 1/16 in 3’. Substrate preparation should be completed following ANSI A108 AN-2 “General Requirements for Sub- surfaces. Substrate should be dry, clean and free from oil, grease, wax, paint, old adhesives, sealers and curing compounds. Any contaminates which inhibit proper bond must be removed. Recommendation for setting: Merkrete Integra - Is a non-abrasive all-in-one adhesive and grout for glass mosaics installations on walls and floors. Integra was developed especially for the installation of mosaics and glass tile of all shapes and sizes with no concerns about thin set color bleed through because the adhesive and the grout are the same color. Merkrete Integra is available in 8 different colors. -
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. -
Dino Rosin Fine Art Sculptor in Glass;
Dino Rosin Fine Art Sculptor in Glass; By Debbie Tarsitano This past January I was privileged to teach encased flamework design at the Corning Museum School’s Studio. Before traveling to Corning I looked through the course catalogue to see who else was teaching during the week I would be there. There was the name, “Dino Rosin,” and his class “solid sculpture.” As I looked at the small photo of his work in the Corning catalogue, I thought to myself, “I wished I could take his class.” That lone picture in the Corning catalogue told me that here was an artist who understood the true meaning of sculpture. Dino Rosin was born in Venice, Italy on May 30, 1948 and his family moved to the island of Murano while he was still a baby. At age 12 Dino left school to work as an apprentice at the prestigious Barovier and Toso glassworks. In 1963 at age 15, Dino joined his older brothers Loredano and Mirco in their own glass studio “Artvet.” Two years later Loredano and Dino joined Egidio Costantini of Fucina Degli Angeli; while working at this renowned studio, Dino and Loredano collaborated with Picasso and other well-known artists of the time. In 1975, Loredano Rosin opened his own studio and Dino, then aged 27, joined his brother’s new venture, supporting him whole-heartedly. Dino progressed and matured as an artist as he worked alongside his brother Loredano to keep the studio strong. Dino perfected his skills in every area of the studio from mixing batch, the raw materials of glass making, to creating new designs. -
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. -
Stained Glass - Mosaic Gingerbread Cottage Light up the Night with This Sweet Little Gingerbread Cottage Night Light
Stained Glass - Mosaic Gingerbread Cottage Light up the night with this sweet little gingerbread cottage night light. From roof to doorway it is sure to add sparkle to the holiday season. Materials: #S3172 Medium Amber & White Opal #S3196 Dark Amber/ White Wispy #S3296 Dark Green & White Opal #591432 Medium Red Special Rod #XSM96 Mardi Gras Stringer Assortment #45133 Green Millefiori #X85811 Fun Time Millefiori #426307 3/4" Glass Tile Iridized Pastels Mix #B110182 Clear Transparent Frit - Medium #8919 E6000 Adhesive #65101 Weldbond Adhesive #5568 5/32" Copper Foil #5614 Copper Reinforcing Strip #7030PK Light Sensor Night Light With 4w Bulb/6-pack 60/40 Solder Painters Tape To make this project as shown use the products listed above or use glass and any embellishments you may already have. Instructions: 1. Following pattern guide, cut out all cottage pieces. 2. Clean well. Foil and solder. Tip: Add a small dot of E-6000 to top back of cottage door to add strength. 3. Make decorative dots of solder along roof line, corners of cottage and chimney. 4. Cut two lengths of copper reinforcement strip 1/4" longer than house opening in the back. Bend ends to fit inside house. (A) 5. Tack solder copper strips together. 6. Set night light inside house and mark for placement of this copper strip. Hold in place with painters tape and solder. 7. Solder night light clip securely to copper strip. (A) 8. With flux cleaner, clean off all residue. Polish with finishing compound. 9. Embellish with glass chips, millefiori, stringer and rod in any way you like! 10. -
{PDF} Mosaic Renaissance : Reviving Classic Tile Art with Millefiori Ebook
MOSAIC RENAISSANCE : REVIVING CLASSIC TILE ART WITH MILLEFIORI PDF, EPUB, EBOOK Laurel Skye | 128 pages | 27 Nov 2009 | F&W Publications Inc | 9781600611988 | English | Cincinnati, OH, United States Mosaic Renaissance : Reviving Classic Tile Art with Millefiori PDF Book Inside "Mosaic Renaissance" discover a treasure trove of rich, inspiring patterns and intriguing mosaic projects that incorporate handcrafted Italian glass known as millefiori. Mastering Composition. Add to Wish List. Revive your love of mosaics! The company that has a sole seat in Murano Venice , the island famous for artistic glass, produces and sells directly its products all over the world. When will my order be ready to collect? Not Specified. Trivia About Mosaic Renaissanc We sell a plethora of odds and ends with special interest in retro Video Games, tools, coins, media and obscure. Italian Ceramics Tiles Marca Corona. Mechanika, Revised and Updated. Drawing for the Absolute Beginner. Keys to Drawing. Show More Show Less. Most relevant reviews. The site uses cookies to offer you a better experience. New ideas on how to utilize every inch of polymer clay millefiore work. View: Gallery View. Kamperen Campingottermeer. Jared Blando. All Listings. Your cart is currently empty. Customer Reviews Based on 2 reviews Write a review. Watercolor Techniques. More filters. Iklan Atas Artikel. Lubna rated it it was amazing Sep 02, Designers developers and contractors rely upon us to deliver creative products which are affordable and on time. The colors in the standard MDM smalti palette allow mosaicists to create works of exceptional beauty and detail. Jenny rated it it was amazing Dec 04, Decorate and paint a faux tile design or random wall art motifs with our Renaissance Tile Stencils Set A. -
Basic Guide to Bottle Identification Say You're Planting a New Tree in Your
Basic Guide to Bottle Age Identification Say you’re planting a new tree in your backyard, and you dig a hole deeper than you’ve had to dig before. In the hole you find a glass bottle that you didn’t put there. How can you identify the bottle? How can you tell if it is old or just a piece of modern recycling that the previous owner left behind? Below please find a basic guide to help you identify a bottle’s age. Bottle identification is a rabbit hole that I’ve found fun to fall into; one bottle can take hours to research, and sometimes, you can’t find anything on it at all! In addition, manufacturing technological advances were adopted over time, not all at once, so older techniques were used at the same time as newer ones. This makes determining exact age for a bottle that wasn’t machine-made a little tricky. But, by looking at a few basic characteristics, you can learn if you want to toss your find in the recycling bin or place it at the center of your mantle. If you are interested in discovering more, I’ve listed some helpful web sites at the end. If you just want a basic guide, hope this helps! How was the bottle made? The first thing that I do when I handle a bottle is look at the construction – the sides, the top or lip, and the base. Free-Blown - Bottles were blown by hand in antiquity, and free-blown bottles were the main manufacturing technique used before the mid-1800s for utilitarian bottles. -
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. -
Spectrum Glass Company ®
Spectrum Glass Company ® Art Glass For Any Application Product Categories Welcome to Spectrum Spectrum Sheet Glass – For Stained ® Glass, Mosaics, and Architectural Spectrum Glass Company is a leading manufacturer of specialty sheet glass applications. for art and architecture. Using a unique combination of traditional hand • Waterglass® crafted methods and modern glass making technology, Spectrum produces • Baroque™ a contemporary art glass that sets new standards for quality, consistency • Artique® and creativity. • Crystal Opals • OpalArt™ • Spirit™ Our product lines include many extraordinary glasses for artistic endeavors, • Pearl Opals including stained glass, mosaic arts, kiln forming and glass blowing. In • SilverCoats™ the Architectural arena, Spectrum Glass stands apart from conventional • Opalescent Colors glassmakers with truly aesthetic, always original, sheet glass products. Our • Transparent Colors glasses are also chosen the world over by makers of fine lighting, giftware, • Classic Mixes glass tile and decorative accessories. • Iridescent • Clear Textures Spectrum Glass products are sold internationally, through a network of System 96® – Compatible glass for Wholesale Distributors and Glass Retailers. To find a supplier, please visit the hot glass arts: blowing, casting, www.spectrumglass.com. fusing, and torch work. • Sheet Glass • Frit • Rods The Grand Scope of Things . • Confetti With every change of colorful season, our product line grows and evolves. • Noodle/Stringer Here, we offer you the grand scope of things: a survey of the types of • Casting Plates & Billets • Studio Nuggets products we make, a few examples of each and various peeks into how • Glass Cullet imaginative minds put them to use. The deeper story can be found on the • HotStart PRO Fusing Kiln Spectrum web site, including detailed imagery of all 450+ glass products, complete specifications and even a video tour of our one-of-a-kind Spectrum Home Collection glassmaking facility. -
Order Form Full
JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE