Sunset Glass Tapestry Changing the Direction of Glass Fusing

Design, Fabrication, Text, and Photography by David Alcala

s glass fusers, especially those of us who work primarily with frit, we are Afirst taught to start with a flat, horizontal piece of glass, then build our design or scene layer on layer. I am here to say that there is a different approach or direction to creating your scenes using glass frit, and that direction is vertical. Why vertical? Creating or building vertically is our most innate or natural way to create. It’s how we naturally construct. Think back to when we were small kids, when we first started to draw without any influence. Most of us would naturally start with the ground first, then add trees or mountains, draw the sky and clouds upon that, and maybe a sun in the corner. Bring back a few memories? With traditional glass fusing projects, however, there is a tendency to lose detail. As the glass or frit is heated, gravity pulls the particles downward and out, so creating fine detail can be hard to achieve and can be somewhat limiting. Since we create and view our paintings vertically, can we do the same with glass? The answer is, we can. How do we do it? This is achieved by assembling a frame that can hold and trap layers of fine grains of glass frit vertically until we are ready to fuse. Creating scenes or designs in an upright position enables artists to achieve fine lines and smooth blending of colors while maintaining sharp-edged detail. Not only do these “Glass Tapestry” techniques lend them- selves to creating beautiful landscapes, but they also add a whole new dimension Glass and feeling to creating with glass frit. 1 Piece of Float Glass Creating a glass tapestry is a combina- 1 Piece of Fusible Glass Plate tion of weaving and sculpting. By pouring Colored Fine Frit in Black, Blue, Red, Yellow, and Orange layers of colored frit between a framelike Tools and Materials container and using only a wire stylist rod, Frame Wooden Base Nails we can create amazing scenes. Wire Rod Stylist Clear Tape Glue 3/16" Strips of Balsa or Bass Wood Paper Cups Plastic Cups Paper Template Ruler Marking Pen Blue Painter’s Tape

62 GLASS PATTERNS QUARTERLY/Summer 2012 It’s All about the Frame An important part of the frame is the base, a platform to which 3 your frame is held in an upright, stable position. It can be created in different variations and styles. Make sure the frame is secured enough to prevent it from wobbling or tipping over. You will also Make a simple find it comfortable to work at eye level by elevating your frame. paper template This can be done by adding something stable underneath the base and tape it to such as bricks, books, or custom legs. the back of the glass frame.

1 This template is used as a visual guide or a way to measure your pouring control. You can create your own template with a ruler and marking pen by merely drawing straight lines. I used blue painter’s tape, which removes easily, to attach the template. Assemble the frame. Note that pouring is all about control. If you can pour a straight line across the bottom of your frame in 1/8" strips, you will have mastered pouring control. Remember to use both hands—your right hand for pouring into the left side of the frame and your left hand for pouring into the right side. It really is all about the frame. It is the most essential part of the glass tapestry technique, which would be impossible without it. The Creating the Glass Tapestry frame is basically created by gluing and spacing two pieces of glass These photos show the abbreviated basic steps for creating a apart, with 3/16" thin strips of balsa or bass wood. One wooden strip glass tapestry. Complete instructions can be found in my e-book, is glued on the edge of each side, and one strip is on the bottom of Sand to Glass. one clear sheet of float or windowpane glass. This wood and glass part of the frame is called the front. This plate can be used repeatedly, since the front plate will never be fired in the kiln. The other fusible glass plate is called the back and can be a COE of your choice, but 4 must match your frit COE. Both glass plates should be cut to exact Begin to form size. Sizes can vary, depending on your project or kiln size. These fine lines of frit two pieces of glass are sandwiched together and held in place with starting first from a few strips of clear tape. the bottom and moving up. 2 You’ll first see layers of blue then alternating layers of yellow, Gather the tools orange, and red. needed to create the glass tapestry. 5 Mound black, then mixed blue and red, and shape The only tools needed are the base, wire rod stylist, paper cups, each mound with a few plastic cups, the frame, and colored fine frit. With the tip of a wire stylist to the wire stylist rod, you can sculpt or manipulate the layers of frit. create peaks. In my book, Sand to Glass, I explain in detail my simple and basic steps used to create a glass tapestry. The basic steps used in creating my scenes are pouring, poking, blending, and shaping. Like all techniques and applications, the more time and practice artists put in, the better they will get. There 6 is an ancient proverb I would like to share with you: “Tell me and Layer yellow frit I will forget. Show me and I will remember. Involve me and I will with a thin layer understand.” of orange and red to create thin clouds of color.

Notice the gradual blending from yellow to orange.

GLASS PATTERNS QUARTERLY/Summer 2012 63 7 Complete the background scene with shades of blue, yellow, and orange.

Remember this simple scene is created from layers of colored frit poured in, starting from the bottom and moving up. When fused, this results in a beautiful landscape background. 8 After the tape has been removed, lift the top or “front” of the glass and remove it from the bottom David Alcala is section of the frame. the author of Sand to Glass and the originator of Flexi- Glass Medium. He lives in Monterey, 9 California, and when he is not in his gallery or stu- Fire the piece dio creating and experimenting, he is off giving classes and at a full fuse sharing his amazing techniques around the country. (300°F per hour David majored in fine arts at UC Davis and UC Berkeley. to 1450°F ), anneal, It was while at Berkeley that he originated and developed and cool. his unique art form called “Sand Tapestry” with which he has created 50,000 works of sand art. It was ten years ago that he first started fusing with glass, and shortly thereaf- ter he discovered glass frit. The discovery enabled him to cross over many of his techniques into the world of glass fusion. Many in the glass art community consider his fusing techniques and applications to be innovative, revolutionary, and poised to change the direction of glass fusing. David says, “This is just the beginning of an incredible, creative 10 journey we can all take part in.” Add the finishing touches to the scene by cutting the edges of the plate, grinding smooth, and adding decals.

The trees and birds were added by placing large decals supplied by Tanya Veit of AAE Glass. Then the piece was fired a second time. Result—a beautiful, easy-to-create work of glass art. GPQ

This project is an excerpt from Sand to Glass: Igniting New Directions in Glass Fusion by David Alcala and published by FXN Glass. For more information about his book, products, and classes, © Copyright 2012 by Glass Patterns Quarterly. you can reach David at www.fxnglass.com. All rights reserved. 64 GLASS PATTERNS QUARTERLY/Summer 2012

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