DOCSLIB.ORG

The Glass Art Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

BOARD OF DIRECTORS PRESIDENT SECRETARY Joseph Zerbey Brett Seymour VICE PRESIDENT LEGAL COUNSEL John Fedderke Justice G. Johnson, Jr Manager's Message TREASURER DIRECTORS Aaron Swiggum Jackie Barnes ASSISTANT Maureen Brown Miguel R. Cueto, General Manager TREASURER Richard Hylant Kirk Mizerek David Quinn Gregory H. Wagoner 419-254-2988 • [email protected] TOLEDO CLUB STAFF ADMINISTRATION Miguel R. Cueto, General Manager 419-254-2988 FOOD & BEVERAGE SERVICE Jenni Maher, Catering Manager 419-254-2981 Tina Orosz, Catering Assistant Manager 419-254-2981 Greetings everyone, Filippa Brown, Catering Assistant Manager I have life lasting memories of many 419-254-2981 I have enjoyed my tenure at the Club Michael Rosendaul, Executive Chef and I appreciate the opportunity to have successful events, warm relationships 419-243-2200 ext. 2149 developed with members and employees, Dining Room Manager been a part of this prestigious institution 419-243-2200 ext. 2964 for nearly five years. Thank you for camaraderie and good will in a Charlotte Hall Concierge and Member Relations Manager the support and encouragement very professional and unique 419-243-2200 ext. 2161 setting. MEMBERSHIP you have provided during my Russ Wozniak, Membership Director time here. I sincerely wish everyone 419-254-2997 the best in the future. ACCOUNTING Even though I will miss the Kimberly Phillips, Office Manager Please keep in touch. 419-254-2970 wonderful membership, Paula Martin, Accounting Analyst I can be reached at my 419-254-2996 the fine crew of devoted personal email address ATHLETIC John Seidel, Director/Squash Pro professional employees, ([email protected]) 419-254-2962 and the unique facilities or my cell phone, Charissa Marconi, Fitness and Aquatics Director 419-254-2990 provided by this beauty 419-215-6088. SECURITY of a building, I am looking David Rainey, Operations Manager Servemus Fidem, 419-254-2967 forward to starting a new T H E T O L E D O C L U B T O P I C S phase of my career. A publication of the Marketing Committee MiguelMiguel R. Cueto of The Toledo Club, published 11 times per year 235 14th Street • Toledo, Ohio 43604 419-243-2200 • 419-254-2969 Fax www.toledoclub.org EDITORIAL STAFF Editor in Chief: Shirley Levy ([email protected]) Calling all Copy Editor: Art Bronson Toledo Club Publisher: Club Etiquette Reminder: members: David Cameron Do you have any photos, Design/Art Direction: post cards, invitations, Tony Barone Design – 419-866-4826 Making reservations is ([email protected]) letters or memories to important to proper scheduling share regarding the Contributing Writers: history of Karen Klein, Carl White, Cindy Niggemyer, of the club’s staff. Two important Richard Rothrock The Toledo Club? Contributing Photographers: benefits to you: great service and Jenni Maher, promises Grand Lubell Photography – 419-882-1984 to scan on the spot – Printing/Mailing by: reduced wage expense to keep or scan and mail back – Kennedy Printing Co. • Findlay, Ohio all documents. club dues from going up. Contact her at ON THE COVER: Illustration of the old German 419-254-2981 or fairy tale, “Snow White,” by artist Daniel [email protected] Eskridge. She is laid in a glass coffin that might have been made in Toledo... if only...! See feature article on page 8. President'sMessage Joe Zerbey, President March, 2013 The letter I sent to you last month was a If you would like to join that effort, very difficult exercise. I have great respect please direct your contributions directly to and admiration for Miguel Cueto, so his me via a personal handoff or by mail: c/o resignation as general manager hit me The Blade, 541 North Superior St, Toledo, very hard. Dealing with the fallout is a challenge OH 43660. Make your check payable to because the conspiracy theorists among us spread The Toledo Club, attn: gift for Miguel. rumors and stories that cause pain and suffering. A rather fitting sendoff for Miguel is the result of the Miguel tendered his resignation under the auspices club’s profit and loss performance for the month of of his employment contract. Period! He leaves with December. It appears we will post a net profit of a bit the board’s full support and blessing. There is no over $100,000 after depreciation. Yes, it is a bit late wrong doing, no smoking gun, nothing for members being reported, but our finance department has been to be concerned about other than we lost a terrifically a one person show for some time and the office manager talented GM! Kim Phillips is in the running for sainthood. As I write Miguel has accomplished a great deal during his this column on February 8, Kim reports that finals tenure as general manager. All 700 of us could point for December will be reported on February 11 and for out things that might have been done better, more January on February 18. More good news: quickly or not done at all. But we aren’t running Kim is now joined in finance by Paula the Club. There is no pressure on any Monday Martin, the new full time accounting analyst morning quarterback. It is a piece of cake to who came to us via the Toledo Country second guess and pronounce “what-ifs.” But the Club all the way from Texas! record speaks for itself: increased profits, increased The board of directors is currently engaged membership, increased fine dining, increased great in the search process for a new general wines, increased fitness and aquatic experiences, manager. There are some very promising increased banquets and weddings, increased care leads and, in fact, today we are interviewing of the facility and increased support for the squash our first candidate. My plan is to have every program and our pro. Miguel accomplished this committee chair also participate in the performance by leading a senior staff of exceptional interviews and I will keep the membership managers, each of whom, he tells me, is the best apprised of the progress. We do have superior he has ever worked with. department heads running the Club and And so Miguel enters into a new chapter in his they have all approached me to offer their career. It is our loss, but he leaves with our respect support during this transition. We are not and sincere best wishes for success and happiness. going to rush the process and will be very Please be sure and wish him well. He will remain careful filling a very big pair of shoes! in his position until February 28. Several members “Why can’t we get all the people together in have asked if the Club is doing something for him the world that we really like and then just and I have been informed by the Clusterfers, a stay together? I guess that wouldn’t work. group that inhabits the Oak Room, (now there Someone would leave. Someone always leaves. is a bunch that needs some conspiracy meddling) Then we would have to say good-bye. I hate that they are donating funds for a farewell gift. good-byes. I know what I need. I need more hellos.” – Charles M. Schulz MARCH 2013 3 Recent FIRST TUESDAY Clubevent Photos by Grand Lubell Photography UPCOMINg EVENTS AT THE CLUB March 1-3 Toledo Squash Classic March 2 Spring Fling March 3 Sunday Brunch March 5 First Tuesday March 8 Black Tie College Boxing Night March 15 Members’ Jam March 11–16 Jiggs Dinner March 21 Great Books Club March 22 Jazz Night March 31 Easter Brunch Reservations at 419-243-2200 or toledoclub.org Need help with the website? Call Jenni Maher at 419-254-2981 MaRK YOUR CaLeNDaRs FUTURE CLUB EVENTS April 21 Taste of the Nation 4 MARCH 2013 MARCH 2013 5 THANK YOU In special appreciation to the following people who hosted or sponsored an event in the month of FEBRUARY • Carol Anderson – OFIC Meetings • Gordon MacRitchie – United Way Meeting • Jackie Barnes – March of Dimes Luncheon • Donald Mewhort III – University of Toledo Cocktail Party • Michael Billian – Diocese of Toledo Meetings • Dean Monske – RGP Meetings • Lawrence Boyer – Press Club Luncheon • Jack Niggemyer – Opera Guild Meeting • Kevin Carmony – • Joseph Napoli – Toledo Mudhens Board Meeting BNI Meetings • Randall Oostra – Promedica Meeting ZEPF Center Meetings Baby Shower • David Quinn – TOM Group Dinner • Riaz Chaudhary – Dinner • Robin Reeves – Dinner • Gary Diesing – Bricklayer’s Pension Dinner • Matthew Rubin – EPIC Meeting • Robert Finkel – Symposium Dinner • John Skeldon – Dinner • R. Bruce Foster – Dinner • William Southern – Rotary Meeting • Micah Graber – TSA Fundraiser • Sharon Speyer – Huntington Bank Meetings • James Hartung – Maritime Academy Dinner • Charles Stocking – Partners in Education Breakfast • Richard Heidebrink – FCA Power Luncheon • Todd Tibbits – YMCA Luncheon • David Huffman – Toledo Refining Company Dinner • Paul Toth – Alpha Phi Boule Dinner • John Hull – Forum Dinner Toledo Port Authority Luncheon • Richard Hylant – Meetings • Bridget Townley – Luncheon • Robert Kelleher – Meetings • Matthew Townsend – Cocktail Party • Brian Kurtz – Northwestern Mutual Luncheon • William Vaughan – Great Books Luncheon • Paul LaMarre – Great Lakes Society Meeting • Mary Ann Whipple – University of Michigan Party • Donald Leary – Diogenes Dinner • Martin Williams – Meeting • Scott Libbe – Meeting NOTE: List may not include all events due to print deadline • Harold Lincoln – Serra Club Luncheon 6 MARCH 2013 UPCOMINg EVENTS AROUND THE CITY Huntington Center Toledo Museum of Art Brit Floyd The Chemo Paintings with ArtReach Expressions Celebrating the music of David Gilmour, Roger Waters, Rick Wright, Through March 21 Nick Mason and Syd Barrett. Featuring note-for-note performances of 94th Toledo Area Artists five full album sides from The Dark Side of the Moon’ Wish You Were Here, Through April 14 The Wall, The Division Bell and Animals. March 5 – 7 PM George Bellows and New York, 1900-1930 Through April 21 Monster Jam Welcome to Monster Jam, an incredible family-friendly experience Toledo Symphony starring the biggest performers on four wheels: Monster Jam monster Beethoven’s Pastoral trucks.
Recommended publications
  • The Heritage Within

    The Heritage Within

    Aleksandar Pantić CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN MA Thesis in Cultural Heritage Studies: Academic Research, Policy, Management. Central European University Budapest May 2018. CEU eTD Collection CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies: Academic Research, Policy, Management. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner CEU eTD Collection ____________________________________________ Examiner Budapest May 2018. CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies: Academic Research, Policy, Management. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest May 2018. CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest,
  • Bergstrom-Mahler Museum Marks 40Th Anniversary

    Bergstrom-Mahler Museum Marks 40Th Anniversary

    President Vice President STANLEY B. KRUGER ANDREW SCOTT 5 Johnson Lane 26 Villa Drive Voorhees, NJ 08043 Ambler, PA 19002 (856) 751-7720 (215) 540-0510 [email protected] [email protected] Secretary Treasurer MARTIN MIKELBERG DON FORMIGLI 24315 Ann's Choice Way 455 Stonybrook Drive Warminster, PA 18974 Levittown, PA 19055 (215) 675-1639 (215) 945-5253 Volume 15 Number 2 www.dvpaperweights.org March 2008 Bergstrom-Mahler Museum Marks glass artist’s 40th anniversary in paperweight 40th Anniversary... design held at the Bergstrom-Mahler Museum in Neenah, Wisconsin on Thursday, September by Joan Ellen Parsley 27, 2007. On that beautiful fall evening, the [Editor’s Note: Joan Parsley is the Artistic Director Evangeline Bergstrom Chapter of the of Milwaukee’s Midwest “bande for early music”, Paperweight Collectors Association and more Musical Offering Ltd. She is an avid paperweight than 65 members of the Museum turned out for collector and a member of Delaware Valley a spectacular event with the artist and his Paperweight Collectors Association, the lovely wife, Catherine. The Museum is noted Evangeline Bergstrom (Wisconsin) Chapter of Paperweight Collectors Association, Inc. and a for the largest public showcase in America of member of the Bergstrom-Mahler Museum itself. Perthshire Paperweights, most of which were She is the daughter of glass artist Johne Parsley.] designed by the honoree. Beauty speaks from the heart. Marking his 40th anniversary in the field, the General Manager and Head Craftsman of the If that is the case as this author believes, then former Perthshire Paperweights Ltd., Crieff, the heart of Scottish Master Craftsman Peter Scotland, created a Limited Edition of 50 McDougall speaks volumes.
  • Ghana's Glass Beadmaking Arts in Transcultural Dialogues

    Ghana's Glass Beadmaking Arts in Transcultural Dialogues

    Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985).
  • Download the 2018 / 2019 Print Catalog

    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.
  • Glass Teacher Book 20

    Glass Teacher Book 20

    Exploring the Glass City: Toledo Museum of Art A Teacher’s Guide to the Glass Pavilion P.O. Box 1013 Toledo, Ohio 43697-1013 Hours Tuesday-Saturday 10A.M. - 4P.M. Friday 10A.M. - 10P.M. Sunday 11A.M. - 5P.M. Closed Monday Admission Free to all thanks in part to the support of Museum members. There is a charge for select ticketed exhibitions. Directions Just off I-75 near Downtown Toledo Take either the Collingwood or Detroit Avenue exits, then follow the signs. Information 419.255.8000 www.toledomuseum.org Our Mission We believe in the power of art to ignite the imagination, stimulate thought, and provide enjoyment. Through our collection and programs, we strive to integrate art into the lives of people. 1 Welcome to the Glass Pavilion Exploring the Glass City: Talkin’ Glass...Words to Know A Teacher’s Guide to the Glass Pavilion What Is Glass, Anyway? Fuse(ing) heating cut glass in a kiln to melt pieces together. The activities in this guide are designed to be used prior to Glass is the oldest man-made material. Most glass is a mixture your visit to enhance learning that will take place at the of silica (from sand or sandstone), an alkali to lower the melting Furnace Museum, or after you return to the classroom. Each activity point, and lime to act as a stabilizer. The mixture, when an enclosed structure for the production and application of is aligned to the Ohio Academic Content Standards. melted, fuses together. It can be poured or blown into a shape heat.
  • Caf Ar 419 Glassblowing

    Caf Ar 419 Glassblowing

    Calle Renier, Dorsoduro 3655 – 30125 Venezia tel. 041.296 0599 CAF AR 419 GLASSBLOWING INSTRUCTOR: Davide Penso [email protected] CLASS: every Tuesday from 3.00 pm to 7.00 pm (56 hours) SITE: Murano Isle COURSE DESCRIPTION The CFA AR 419 Glassblowing is a course that takes place on the Murano Isle, and it is an introduction to the real professional way to approach the torch and how to melt glass. During this course students learn about tools used for creating glass beads. Each student learns how to create his/her own bead and right out of his/her first jewelry, through the assistance and monitoring of the instructor. Each student is assigned a workstation equipped with its own workspace and torch. Each workspace has all the tools she/he needs, including: steel spindles or needles, safety glasses, pan pot of graphite, flat pliers to shape the glass, vermiculite to cool beads, etc. In addition, many glass rods of many different colors. The number of students per class is limited to 8. This allows the instructor a personalized evaluation, constant feedback and instructions. During the course, students will learn about tools for beads design and creation, most of glass fusion techniques, from the project to the professional production of the beads, designing jewelry, and strategy of sales. On the 3rd of December, students will visit the Glass Museum in Murano. In addition, the optional visit to the furnace where students can see Giancarlo Signoretto’s glass sculptures, on the 3rd or on the 10th of December. REQUIREMENTS For this course no requirements are asked.
  • Download New Glass Review 21

    Download New Glass Review 21

    NewG lass The Corning Museum of Glass NewGlass Review 21 The Corning Museum of Glass Corning, New York 2000 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, dass sie in- the 1999 calendar year. nerhalb des Kalenderjahres 1999 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Review konnen angefordert werden bei: The Corning Museum of Glass Buying Office One Corning Glass Center Corning, New York 14830-2253 Telephone: (607) 974-6479 Fax: (607) 974-7365 E-mail: [email protected] All rights reserved, 2000 Alle Rechte vorbehalten, 2000 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 0-87290-147-5 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/In halt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 16 1999 in Review/Ruckblick auf 1999 36 Bibliography/Bibliografie 44 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 73 Jury Statements Here is 2000, and where is art? Hier ist das Jahr 2000, und wo ist die Kunst? Although more people believe they make art than ever before, it is a Obwohl mehr Menschen als je zuvor glauben, sie machen Kunst, "definitionless" word about which a lot of people disagree.
  • Glass Beads of the Viking Age

    Glass Beads of the Viking Age

    Glass Beads of the Viking Age HL Renart (the fox) of Berwick What are Glass Beads? Glass beads are small pieces of glass that have been melted and molded inside a heated oven (forge) or over the very hot coals of a fire, and then wound or spun on a thin rod and possibly decorated (Ill. 1). Others small decorative items similar to glass beads are pieces of amber or jet that were carved into beads, gaming pieces, or other jewelry items. Illustration 1: Glass beads (Dahlquist and Illustration 2: Glass Gaming Pieces (Levick and Martensson undated) Beadle 1992) Who Made the Beads? Glass bead-makers were artisans who imported glass from Western Europe to support their craft. The beads were used as jewelry for the townsfolk and for trade items across the lands. The artisans lived amongst the Viking people, and followed in their footsteps as they moved from area to area. Therefore, Viking glass beads were made in Norway, Sweden, Denmark, Greenland, England, Gotland, Scotland, Ireland, etc. Other cultures worked in and made glass, and there are glass beads from prehistoric sites, Celtic sites and Roman sites. However, this paper is concentrating upon beads made during the Viking or Norse era. When? The Vikings made glass beads from the 8th -11th centuries. As mentioned above, glass beads 1 were made prior to the Viking era by other cultures, and, of course, they were made after the Viking era and are still made today. Who Wore the Beads? Mostly the women of the time, at least in the Viking culture.
  • BMW of North America, LLC NJ ""K"" Line America, Inc. VA 1199

    BMW of North America, LLC NJ ""K"" Line America, Inc. VA 1199

    The plan sponsors listed below have at least one application for the Retiree Drug Subsidy (RDS) program in an "Approved" status for a plan year ending in 2010 as of February 4, 2011. The state listed for each sponsor is the state provided by the sponsor on the application for the subsidy. This state may, or may not, be where the majority of the plan sponsor's retirees reside or where the plan sponsor is headquartered. This list will be updated periodically. Plan Plan Sponsor Business Name Sponsor State : BMW of North America, LLC NJ ""K"" Line America, Inc. VA 1199 SEIU Greater New York Benefit Fund NY 1199 SEIU National Benefit Fund NY 3M Company MN 4th District IBEW Health Fund WV A-C RETIREES' VOLUNTARY BENFITS PLAN WI A. DUDA & SONS, INC. FL A. SCHULMAN, INC OH A. T. Massey Coal Company, Inc. VA A&E Television Networks NY AAA EAST PENN PA AARP DC ABB Inc. CT Abbott Laboratories IL Abbott Pharmaceuticals PR Ltd. PR Acadia Parish School Board LA Accenture LLP IL Accuride Corporation IN ACF Industries LLC MO ACGME IL Acton Health Insurance Trust MA Actuant Corporation WI Adirondack Central School NY Administrative Office of the Pennsylvania Courts PA Adventist Risk Management MD Advisory Services OH AEGON USA, Inc. IA AFL-CIO Health and Welfare Trust DC AFSCME DC AFSCME Council 31 IL afscme d.c. 47 health & welfare fund PA AFSCME District Council 33 Health and Welfare Plan PA AFTRA Health Fund NY AGC FLAT GLASS NORTH AMERICA INC TN Page 1 AGC-IUOE Local 701 Health & Welfare Trust Fund WA AGCO Corporation GA Agilent Technologies, Inc.
  • Millefiori Pendants.Pages

    Millefiori Pendants.Pages

    REUSABLE MOLDS FOR GLASS CASTING murrini with Colour de Verre from the molds and can be washed molds creates pendants that range off the pieces. Castings created from old-world classics to hip, using ZYP have exceptionally contemporary pieces. smooth surfaces and almost never require grinding or “cold work.” Primo is a traditional kiln wash that is applied with an artist’s brush. It’s a trusted and proven product, but requires a bit more “elbow grease” to remove after Millefiori and Murrini firing. Primo’s big advantages are Pendants it’s low cost and availability. Create beautiful, old-world or Brief instructions for each option hip, modern designs by combin- follow: ing millefiori, murrini, and To apply ZYP, hold the well-shak- Colour de Verre pendant molds. Murrini used to be solely While the results look profes- produced in COE 104 glass by the en can 10 to 12 inches from the sional and intricate, they are Italian Masters of Murano, Italy, mold. Hold both the mold and the easy-to-make and require only but American art glass studios are spray can upright. Apply the first, one firing. producing beautiful murrini in light coat using a two to three-sec- ond burst of spray in a sweeping nnn both COE 90 and COE 96 glass. pattern across all the mold’s cavi- Just a note: The millefiori is the ties. Do not saturate the surface. If combination of two Italian words: it is the first time ZYP has been Murrini are created by drawing a Mille for thousands and fiori for applied to this mold, it is necessary block of layered glass into a long flowers.
  • Ausglass Magazine a Quarterly Publication of the Australian Association of Glass Artists Aus Ass

    Ausglass Magazine a Quarterly Publication of the Australian Association of Glass Artists Aus Ass

    Ausglass Magazine A Quarterly Publication of the Australian Association of Glass Artists aus ass POST CONFERENCE EDITION Registered by Australia Post Publication No. NBG1569 1991 CONTENTS Introduction 3 An Historical Context - by Sylvia Kleinert 5 ausglass The Contemporary Crafts Industry: magazine Its Diversity - by John Odgers u Contemporary Glass - Are We Going the Right Way? - by Robert Bell 15 Dynamic Learning - A Quality Approach to Quality Training - by Richard Hames 17 POST CONFERENCE The Getting of Wisdom: the gaining of EDmON 1991 skills and a philosophy to practice Session 1 - Cedar Prest 20 Session 2 - Bridget Hancock 22 Session 3 - Richard Morrell 23 Session 4 - Anne Dybka 24 New Editorial Committee: Fostering the Environment for Professional Practice - by Noel Frankham 27 Editor Technique and Skill: its use. development Bronwyn Hughes and importance in contemporary glass ­ Letters and correspondence to by Klaus Moje 32 Challenges in Architectural Glass - by Maureen Cahill 35 50 Two Bays Road, Ethics and Survival - by WtuTen Langley 42 Mt. Eliza, VIC. 3930. When is a Chihuly a Billy Morris? - by Tony Hanning 43 Phone: Home - (03) 787 2762 Production Line: A Means to an End - by Helen Aitken-Kuhnen 47 The Artist and the Environment - by Graham Stone 49 Editorial Committee Working to a Brief- Bronwyn Hughes Chairperson Working to a Philosophy - by Lance Feeney 51 Jacinta Harding Secretary A Conflict of Interest - by Elizabeth McClure 53 Mikaela Brown Interstate & The Gift - Contemporary Making - by Brian Hirst 55 O.S. Liaison Meeting Angels: Reconciling Craft Practice Carrie Westcott and Theory - by Anne Brennan 57 Advertising Kim Lester Function? - by Grace Cochrane 6S Juliette Thornton Internationalism in Glass ­ Distnbution Bronwyn Hughes Too Much Common Ground - by Susanne Frantz 67 David Hobday Board Gerie Hermans Members Graham Stone President: Elizabeth McClure FRoNT COVER: C/o Glass Workshop, The Crowning of the new President.
  • Glass and Glass-Ceramics

    Glass and Glass-Ceramics

    Chapter 3 Sintering and Microstructure of Ceramics 3.1. Sintering and microstructure of ceramics We saw in Chapter 1 that sintering is at the heart of ceramic processes. However, as sintering takes place only in the last of the three main stages of the process (powders o forming o heat treatments), one might be surprised to see that the place devoted to it in written works is much greater than that devoted to powder preparation and forming stages. This is perhaps because sintering involves scientific considerations more directly, whereas the other two stages often stress more technical observations M in the best possible meaning of the term, but with manufacturing secrets and industrial property aspects that are not compatible with the dissemination of knowledge. However, there is more: being the last of the three stages M even though it may be followed by various finishing treatments (rectification, decoration, deposit of surfacing coatings, etc.) M sintering often reveals defects caused during the preceding stages, which are generally optimized with respect to sintering, which perfects them M for example, the granularity of the powders directly impacts on the densification and grain growth, so therefore the success of the powder treatment is validated by the performances of the sintered part. Sintering allows the consolidation M the non-cohesive granular medium becomes a cohesive material M whilst organizing the microstructure (size and shape of the grains, rate and nature of the porosity, etc.). However, the microstructure determines to a large extent the performances of the material: all the more reason why sintering Chapter written by Philippe BOCH and Anne LERICHE.