Hot Glass -- Section B
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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. -
Bullseye Glass Co. / Classes & Special Events
Bullseye Glass Co. | Classes & Special Events May to September 2012 • Emeryville, California From the Director Artist Klaus Moje at Resource Center Portland, 2007. What is Kiln-Glass? In 1974 three self-described “hippie glassblowers” started Bullseye Glass Company, a small factory for making specialty sheet glass in Portland, Oregon. While they initially focused on making colored sheets for use in stained glass, they aspired to do what had never been done before: to produce a palette of colored glasses tested to be compatible for fusing with one another for producing works in the kiln. By 1979 they had succeeded, but immediately ran into a challenge: they had created something remarkable for which almost no demand existed. Ever the innovators, they decided to embark on a long-term program of research projects working directly with artists to help pioneer and expand the technical, aesthetic and conceptual development of the field that is today known as kiln-glass. Kiln-glass is a term that describes an enormous range of techniques and outcomes that are radically more accessible than many other working methods, such as glassblowing, in which one must first develop basic physical skills for years before being able to effectively realize well-executed works. By contrast, many of the skills required for kiln-glass are things that most artists already possess: an understanding of design, composition, color theory, and the ability to conceive of layers of process and material application. And while kiln-glass does require basic knowledge of technical issues and nuances, these are readily obtained in short order through publications and curriculum that have been developed as an outgrowth of Bullseye’s years of collaboration with artists. -
Art Glass Classes 2017 CONTENTS
Art Glass Classes 2017 CONTENTS About Kiln-Glass 2 Kilncasting 15 Bullseye Resource Centers 3 Open Studio 17 Introductory Classes 4 Instructors 18 Kilnforming Techniques 7 Registration and Policies 23 Drawing, Painting and Printmaking 13 Locations 23 ABOUT KILN GLASS Richard Parrish. See his class on page 11. Kiln-glass provides an enormous range of levels—from glass fusing beginners to advanced kilnformers—in a techniques and results that are easily accessible. supportive and inspirational environment. Working with this remarkable material requires two things that most artists already possess: an And as you learn to do amazing things with kiln-glass, you’ll also benefit from Bullseye’s decades of research into materials, processes, understanding of design, composition, and color products, and equipment. theory; and the ability to conceive of layers of process and material application. Note: This catalog provides an overview of the kinds of courses we offer, but our Research & Education team continues to design While kiln-glass does require technical knowledge, this can be new courses. The complete schedule of offerings is available at obtained in short order through courses in this catalog, developed bullseyeglass.com/classes. You can also sign up for email updates at by Bullseye through years of collaboration with artists from bullseyeglass.com/email (we never share or sell your address). many mediums. We offer classes year round for students at all 2 BULLSEYE RESOURCE CENTERS Bullseye’s Resource Centers are world-class teaching centers, offering short courses year round for students at all levels, as well as free artist talks and demonstrations. -
FUSED GLASS PLAID PLATE Free Fused Glass Project
Come Join Us! FUSED GLASS PLAID PLATE Free Fused Glass Project #551 Materials List: Materials List for COE 90 or COE 96 COE 90 Item# 90905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 90915 Qty 1 Clear Sheet Glass 8 x 8 Item# 90906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 90945 Qty 1 Green Sheet Glass 8 x 8 Item# 90902 Qty 1 Light Turquoise Sheet Glass 8 x 8 COE 96 Item# 96905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 96915 Qty 1 Clear Sheet Glass 8 x 8 Item# 96906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 96945 Qty 1 Green Sheet Glass 8 x 8 Item# 96902 Qty 1 Light Turquoise Sheet Glass 8 x 8 FUSING SUPPLIES: Other Items: Item# 41513 Bullseye Shelf Paper 1 square foot or Item# 41514 Papyros Shelf Paper 1 square foot Item# 41232 Mold Curved Square (This project will work other square molds and look wonderful so do not limit yourself to just one mold.) Item# 41507 Fuser's Glue Other Materials: · Cold Polishing - (one of the following) · Grinder · Abrasive Stone · Diamond Nail File · 3M™ Diamond Coated Sanding Sponges Clean Up Supplies: · Rubbing Alcohol, Dish Washing Detergent · Cloth with very little lint (old T-shirt) Step 1 - Preparation · Grind to round each of the 4 corners of the larger square used as the base piece of glass. -
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). -
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. -
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. -
Design and Fabrication of Nonconventional Optical Components by Precision Glass Molding
Design and Fabrication of Nonconventional Optical Components by Precision Glass Molding DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Peng He Graduate Program in Industrial and Systems Engineering The Ohio State University 2014 Dissertation Committee: Dr. Allen Y. Yi, Advisor Dr. Jose M. Castro Dr. L. James Lee Copyright by Peng He 2014 Abstract Precision glass molding is a net-shaping process to fabricate glass optics by replicating optical features from precision molds to glass at elevated temperature. The advantages of precision glass molding over traditional glass lens fabrication methods make it especially suitable for the production of optical components with complicated geometries, such as aspherical lenses, diffractive hybrid lenses, microlens arrays, etc. Despite of these advantages, a number of problems must be solved before this process can be used in industrial applications. The primary goal of this research is to determine the feasibility and performance of nonconventional optical components formed by precision glass molding. This research aimed to investigate glass molding by combing experiments and finite element method (FEM) based numerical simulations. The first step was to develop an integrated compensation solution for both surface deviation and refractive index drop of glass optics. An FEM simulation based on Tool-Narayanaswamy-Moynihan (TNM) model was applied to predict index drop of the molded optical glass. The predicted index value was then used to compensate for the optical design of the lens. Using commercially available general purpose software, ABAQUS, the entire process of glass molding was simulated to calculate the surface deviation from the adjusted lens geometry, which was applied to final mold shape modification. -
Crafted Architecture, an Investigation Into Handcrafted Glass Techniques
Crafted Architecture, An Investigation into Handcrafted Glass Techniques Alex Krissberg Konstfack CRAFT! Department of Ceramic and Glass Master 2 Spring 2018 Tutors: Reino Björk, Birgitta Burling, Sara Isaksson From, Hans Isaksson, Agneta Linton, Anders Ljungberg, Marie O’Connor, Johanna Rosenqvist, Bella Rune, Matt Smith Word count: 5,187 Abstract This paper is an investigation into the crossroads of traditional and contemporary glass craft techniques. Through innovative methods in the workshop I have set out to bring glass into the public sphere using the potential for handcraft in architecture. Keywords: Glass, Glassblowing, Handmade, Architectural Glass, American Studio Glass Movement, Rondel, Murrini, Cane Index Introduction 1 Background 2-5 Context 6-9 Methods: Theory (Bubbles & Blobs) 10-12 Methods: Techniques 13-16 Discussion 17-18 Conclusion 19-20 References 21-22 Appendix 23-26 Introduction This paper follows my masters project where I work with my own invented glass techniques that I am using to construct glass sheets for the purpose of architectural glass. In this project I am researching in what ways can handmade architectural craft change a space? In exploring how handmade glass can change a space, I will investigate how unseen glass traditions which happen in the workshop outside of public view can be present in a crafted object, and what society’s perception of craft might be historically and currently. I believe that public glass is lacking in the handmade. In the past society had depended on craftsmen to make windows, but now as they are mostly machine made it has become void of certain qualities. I would say architectural and functional glass is often overlooked as just a building material or tool, an object that is not seen or a transparent wall. -
Understanding Firing Schedules
Understanding Firing Schedules Learn about the components of a glass fi ring schedule so you can create your own schedule for any project you want to try. BASICS – Ramp - Temperature - Hold HEATWORK – Time/Temperature Tango. COE – how it aff ects fi ring schedules. VISCOSITY – how it aff ects fi ring schedules. THICKNESS– how it aff ects fi ring schedules PREDICTION - ending accidents. ANNEALING – how and why EVENIVITY– the magic word. VOLUME CONTROL SPECIAL SCHEDULES for special eff ects. My Personal Promise The temperatures and times I refer to here for fi ring schedules are not guesswork and are not copied from comments of others. There are the result of 40 years working as a glass artisan and over 20,000 kiln fi rings. I made it a point to do comparison tests to rigid standard. Some of those tests are included in chapters here. Dennis Brady Glass Campus Publishing Understanding Firing Schedules CONTENTS CONTENTS Cover ……………………. 1 Slump ………………………21, 22 Index …………………….. 2 Drops ………………………23 Introduction …………….. 3 Fuse ………………………..24 Attitude ………………….. 4 Casting …………………….25 COE ………………………..5, 6 Heatwork …………………..26, 27 Viscosity …………………...7 Evenivity …………………...28, 29, 30 Compatibility ………………8, 9 Adapting Schedules ………31, 32 Definitions …………………10 Special Schedules ………. 33, 34, 35 Ramp ……………………...11, 12, 13 Creating Schedules ……….36 Hold ………………………..14 Volume Control ……………37, 38 Temperature ………………15, 16 Question Everything ……...39, 40, 41 Anneal …………………… 17, 18 Keep Records ……………..42 Drape ………………………19, 20 2 Understanding Firing Schedules Introduction What happens to glass when fired in a kiln depends directly on the firing schedule. When you first learn to fuse and cast glass, you start by using firing schedules created by others. -
Baltic Glass the Development of New Creative Models Based on Historical and Contemporary Contextualization
Vesele, Anna (2010) Baltic Glass The development of new creative models based on historical and contemporary contextualization. Doctoral thesis, University of Sunderland. Downloaded from: http://sure.sunderland.ac.uk/3659/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. Baltic Glass The development of new creative models based on historical and contemporary contextualization Anna Vesele A thesis submitted in partial fulfilment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy Faculty of Arts, Design and Media, University of Sunderland April 2010 1 Abstract The aim of this research was to demonstrate the creative potential of a particular type of coloured flat glass. This glass is produced in Russia and is known as Russian glass. The present researcher has refined methods used by Baltic glass artists to create three- dimensional artworks. The examination of the development of glass techniques in Estonia, Latvia and Lithuania was necessary in order to identify these methods and to contextualize the researcher’s personal practice. This study describes for the first time the development of glass art techniques in the Baltic States from the 1950s to the present day. A multi-method approach was used to address research issues from the perspective of the glass practitioner. The methods consisted of the development of sketches, models and glass artworks using existing and unique assembling methods. The artworks underlined the creative potential of flat material and gave rise to a reduction in costs. In conjunction with these methods, the case studies focused on the identification of similarities among Baltic glass practices and similarities of approach to using various glass techniques. -
Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19Th Century
BEADS: Journal of the Society of Bead Researchers Volume 15 Volume 15 (2003) Article 6 1-1-2003 Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19th Century Lester A. Ross Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Ross, Lester A. (2003). "Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19th Century." BEADS: Journal of the Society of Bead Researchers 15: 41-52. Available at: https://surface.syr.edu/beads/vol15/iss1/6 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. BOHEMIAN FACETED-SPHEROIDAL MOLD-PRESSED GLASS BEAD ATTRIBUTES: HYPOTHESIZED TERMINUS POST QUEM DATES FOR THE 19TH CENTURY Lester A. Ross Faceted-spheroidal mold-pressed beads have been manufactured Glass bead varieties and their attributes occasionally in Bohemia since the 18th century. Evolution of manufacturing have proven to be reliable as sensitive temporal markers technology has resulted in the creation of bead attributes that (e.g., Karklins 1993; Sprague 1983, 1985). Well-dated can readily be observed on beads from archaeological contexts. archaeological contexts containing faceted-spheroidal mold Many North American archaeological sites contain examples of pressed beads appear to be restricted to the second through this bead type; but few reports have identified the attributes, much fourth quarters of the 19th century.