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Marble and Paperweight Issue Summer 2020 Marble and Paperweight Issue Mayauel Ward New Products to Inspire Your Creativity www.firemountaingems.com www.firemountaingems.cowww.firemountaingems.com m One Fire Mountain Way, DEPT C070 Grants Pass, OR 97526-2373 1-800-355-2137 America’s Favorite Inset shows convertible necklace with Beading and Jewelry removable earrings and brooch Supply Company® Go online to see over 100,000 HOT jewelry-making products and order a Free catalog today You supply the creativity, we supply everything else!® Copyright Fire Mountain Gems and Beads© 2020 Debbie Benninger and Lampworked Glass by Mary Ann Helmond Silver Medal Prize Winner, Metals Jewelry-Making Contest The Flow®/Summer 2020 The Flow® Table of Contents Volume 18 Number 2 6 The Flow® 2020 Marble and Paperweights Gallery Featuring the work of 27 flameworking artists 14 Beyond the Sphere How the Contemporary Marble Movement Changed the Paradigms of Shape by Freddy Faerron 22 The Power of the Flame Transforming the Common into Something Special by Melissa Ayotte 28 The 2019 Michigan Glass Project Helping Young People Find Art by Allison Key 32 Encased Floral Marbles Text and Demonstration by John Kobuki On the Cover Floral Paperweight by Mayauel Ward. Photo by Rosann Baum Milius. Table of Contents Floral Paperweight by Melissa Ayotte. www.TheFlowMagazine.com The Flow ® • Summer 2020 3 40 Frit Implosion Marble Publisher ~ Maureen James Text and Demonstration by Vicki Schneider Founding Editors ~ Wil Menzies, Jennifer Quaid Copy Editor ~ Darlene Welch Making a Super Simple Marble Pendant Accounting ~ Rhonda Sewell 46 Text and Demonstration by Sara Sally LaGrand Circulation Manager ~ Kathy Gentry Advertising ~ Maureen James Graphic Artists ~ Dave Burnett 50 Daniel “Piper Dan” Benway Mark Waterbury Sharing Techniques for a Nightline Marble Contributing Artists and Writers Text and Demonstration by Daniel Benway Melissa Ayotte, Daniel Benway Freddy Faerron, Allison Key 53 Parallels Between Hot Glass and Human Existance John Kobuki, Sara Sally LaGrand by The Village Iterate Vicki Schneider, Darlene Welch ISSN 74470-28780 is published quarterly by Glass Patterns Quarterly, Inc. 54 Advertisers’ Index 8300 Hidden Valley Road, P.O. Box 69, Westport, KY 40077 POSTMASTER: Send address 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. © 2020 The Flow®. Marble by Editor and staff assume no responsibility Theodore Peterson for the claims of advertisers or their services, Deadlines for Editorial Submissions nor do we endorse any particular business. Fall 2020 Functional The articles reflect the views of the writer, not Due Now necessarily those of the magazine. The Flow® is not responsible for materials such Winter 2020 Women in Glass as photographs and letters, and they will not be September 1, 2020 returned unless accompanied by a self-addressed, Spring 2021 Nature and Mille stamped envelope. All material will be presumed December 1, 2021 to be for publishing and is subject to editing unless Summer Favorite Things otherwise indicated in writing. 2021 My 1 The Flow urges its readers to proceed cautiously in March 1, 202 respect to technical information or If you are interested in becoming a contributing artist for step-by-step articles. Always take proper The Flow®, visit www.theflowmagazine.com for a link to themes of safety precautions when working with glass. upcoming issues, author guidelines, and submission forms. 4 The Flow ® • Summer 2020 www.TheFlowMagazine.com INTRODUCING THE Artist NEW Marcel Braun MICRO SCARAB USE WHAT THE PROS USE SKUTT.COMwww.Skutt.com Marcel Ad.indd 1 6/1/15 1:49 PM The Flow 2020 Marble and Paperweight Gallery Laurie Ament www.glassbead.etsy.com Daniel “Piper Dan” Benway Instagram @piperdanglass Leslie Anne Bitgood www.CrazyWomanGlass.com Joshua Bonazza Instagram @jubaglass 6 The Flow ® • Summer 2020 www.TheFlowMagazine.com Jon Bowers Instagram @allover_marbles Andrew “Carver B” Brown Instagram @carverbeezkneez Photo by Brian Bowden Suzanne Cancilla-Fox Instagram @suzannecancillafox Scott Carr Instagram @forgedbyfireglass www.TheFlowMagazine.com The Flow ® • Summer 2020 7 Jenifer Drumme www.pacificnorthwestglassblowing.com Freddy Faerron Instagram @freddyfaerron Photo by Ben Ramsey Nathan Gorman Instagram @nathangglass Susan Haskell [email protected] 8 The Flow ® • Summer 2020 www.TheFlowMagazine.com Polish Your Glass With Super Cerium! Polish your glass with Covington’s professional grade cerium. This grade of cerium has a more uniform particle size and will polish your glass in a flash! 1 lb. : $23.75 5 lb. : $112.00 208.609.6636 [email protected] www.covington-engineering.com 520 E. Franklin Rd. Y Meridian, ID 83642 www.CMOG.org Covington Great New Tools from Griffin Thread Holding Tools GL25 The GL18 and GL25 Glass Thread Holding Tools are made from GL18 super high-grade, ultra dense graphite with a stainless steel tube to provide the perfect solution for The Ultimate Claw Tool opens holding threads for the cap/top of a from 10 mm to 152 mm, is flask or other vessel. made completely from stain- less steel, and has a knurled handle and balanced weight that allow for effortless and even rotation. Ultimate Claw Tool www.GriffinGlass.com WWW.GRIFFINGLASS.COMWWW.GRIFFINGLASS.COMwww.GriffinGlass.com Flameworking tools designed and produced by a flameworker www.TheFlowMagazine.com The Flow ® • Summer 2020 9 Lisa Howell Instagram @howell_glass Photo by www.GossmanPhotography.com Tim Keyzers Instagram @timkeyzers Photo by Brian Bowden Tom Lahue [email protected] Joshuah Justice [email protected] 10 The Flow ® • Summer 2020 www.TheFlowMagazine.com Halina Tayour www.LethalGlass.com Photo by Darren Willis Erica Perras and Justin Sevey Instagram @arborealsanonymous Instagram @dr.greenglass Theodore Peterson Instagram @crowmancrothers Larry Rutland [email protected] Photo by Devine Design Diva www.TheFlowMagazine.com The Flow ® • Summer 2020 11 Barry Stevens [email protected] Esther Silver Photo by Sarah Stringer, Ark Valley Digital Imaging www.etsy.com/glassmenage Victor Trabucco Milon Townsend www.buffalocrystal.com www.intuitiveglass.com 12 The Flow ® • Summer 2020 www.TheFlowMagazine.com Jon Wade Mayauel Ward www.WizardGlass.com www.MayauelGlass.com Photo by Coburn Huff Photo by Rosann Baum Milius THE Flow® © Copyright 2020 by The Flow®. All rights reserved. Connect with us: wwwwww.FrantzArtGlass.com.FrantzArtGlass.com wwwww.FrantzNewsLetter.comw.FrantzNewsletter.com PH: 1-800-839-6712 www.TheFlowMagazine.com The Flow ® • Summer 2020 13 How the Contemporary Beyond the Sphere Marble Movement Changed the Paradigms of Shape Edited by Freddy Faerron his year marks my 30th as a professional artist. I have enjoyed many crafts during that time, but glass Ttook a strong hold on me some 25 years ago. Marbles have been a particular passion. In many ways they have brought out my inner painter, as well as some of my deepest core artistic expression. Two years ago, I started incorporating other aspects of my creative path into marbles. Exploring the optic qualities through cold working facets entered my study, and I also began to see the backing art and its surface as an invitation to carve, allowing me to relate to my core shape in a new way. Collaborating with good friend Tim Keyzers ignited this drive. His glass journey is a prime example of evolution to “sphere as a canvas.” Other marble makers who have pursued an expand- ing relationship with the sphere include pioneers Daniel “Piper Dan” Benway and Andrew “Carver B” Brown, who both broke the paradigm of the glass sphere as a contemporary collectible and redefined the marble dialog in general. There is no question that this makes a sphere into something else. The geometric term speaks for itself. There is also no question that these marble artists purposely chose to develop further from the sphere as a source just as I am today. This development makes the con- temporary marble movement somewhat unique in many ways. The original shape became a source for expression by many artists. This article offers a platform and a voice for “sphere as a canvas” marble art- ists Daniel “Piper” Benway, Josh “Jubba” Bonnaza, Andrew “Carver B” Brown, Nathan Gorman, collaborators Justin Sevey (marble) and Erica Perras (bio- logical accents and electroforming), and Tim Keyzers. First, however, we have an historical introduction by Brian Bowden of Glass Orbits. 14 The Flow ® • Summer 2020 www.TheFlowMagazine.com The Early History of Art Glass Marbles Thoughts on Dots—and Rules by Brian Bowden, Marble Collector, by Daniel “Piper Dan” Benway Representative, and Historian I’ve never been a big fan of rules—or laws, for that matter—and a lot of The history of art glass marbles traces back to the my motivation for putting raised dot trails on the outside of my marbles was playground marbles of the early 20th century. Most because I was told I couldn’t do it. We were told a lot of things as young bo- early toy marbles were mass-produced with ma- rosilicate glassblowers in the mid ’90s, and most of us had to make our own chines, but a group of German glassblowers decided way with little or no help. to make marbles for children using traditional glass For artistic design purposes, I just thought they had a lot of strong contrast cane building techniques in the furnace. Beautiful and movement—almost like a planet orbiting a sun. They also help to keep twisted cane swirl marbles were handmade, one at a the marbles from rolling off the shelf.
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