DOCSLIB.ORG

Warming up to Glass

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Warming up to Glass Middle School Studio Lesson Warming Up to Glass Tana Mendenhall arm glass produces of mystery about their creation, glass as a hobby, but it is still not used for unique art objects fusing is actually quite simple. large-scale production. that cannot be repli- Wcated with any other Glass Fusion: A History Glass Fusing Equipment and Tools method. The term “warm glass” is Archaeological evidence suggests that • Glass cutters are used to score interchangeable with the term “glass early Egyptians had knowledge of basic glass so that it can be broken into fusing”; both are used to describe the glass fusing techniques, but it was the specific shapes and sizes. A pistol- method of using a kiln to join pieces Romans who perfected it some years grip glass cutter is recommended of glass together. later. With the introduction of the as it dispenses oil while cutting the Quite simply, when heat is applied blowpipe, fusing fell from favor because glass and helps to create smoother, to glass, it will soften and eventually glassblowing offered a quicker way to cleaner cuts. become fluid. When the glass reaches create glass objects. Glass fusing did • Running pliers have a flat head a fluid state, pieces will meld together not regain wide popularity until the and are used to grip glass along the to create one glass object. While fin- turn of the twentieth century. Since the scored edge. ished warm glass products have an air 1960s, glass fusing has become popular • Groziers (breaker) pliers have a ser- WEB December 2011 SchoolArts Samples of COE 90 glass. first clean the cutting surface. Debris under the glass can cause it to unex- pectedly break. Next, score the glass with a glass cutter, then grasp the glass with running pliers, and twist to break it along the scored line. Use gro- zier pliers to clean the edges if needed. Prepare a heat-resistant area where glass can cool after being removed from the kiln. Be careful not to place hot shelves on laminate or other easily damaged surfaces. Production Provide three to five pieces of glass to each student. Remind students that the glass is sharp. Encourage students to plan designs on paper before assem- bling the individual pieces of glass. Simple designs are almost always the best. Use a dark color as the base and build up no more than three or four layers. Use a drop of white glue to hold each layer in place. The glue will dis- sipate once the glass fuses. Clear glass as the top layer adds dimension to the finished piece. Fire the glass in the kiln and allow it to cool before adding Completed pendant. the chosen jewelry findings. can be prepared for firing. Use stilts to stack shelves. Close and Extend Take digital photographs of fused Glass Fusing Materials pieces before they are placed in the • An assortment of glass that is either kiln. Compare the photograph to the COE 90 or COE 96, a notation that finished piece. How did the fusing rated edge that can be used to chew refers to the coefficient of expan- process change the design? How did away rough spots on edges. sion and contraction of glass. The the glass change? Why? Remind stu- • Heat-resistant gloves are thick and two coefficients cannot be used dents that each piece of fused glass cover the fingers, hand, and lower together. Varied rates of expan- is a unique creation. No two pieces arms. Use them to open a hot kiln, sion and contraction will cause the will be the same, even when they look remove the hot shelves, and handle pieces to break during fusing. identical before fusing. hot glass. • Kiln wash should be used on the • Goggles or safety glasses cover the interior surfaces and shelves in a Tana Mendenhall was an art education major at Northern Arizona University, eyes and should be worn when cut- 5:1 ratio (water: wash). A 1:1 ratio Flagstaff when she taught this lesson. ting glass or viewing the glass while should be used the first time a kiln NATIONAL STANDARD it is fusing. is used. Smoothly apply the wash Students intentionally take advantage • A haik brush is a soft brush used to so that it does not leave marks on of the qualities and characteristics of smoothly apply kiln wash. the fused glass. Use caution not to art media, techniques, and processes • A kiln that is capable of reaching inhale the wash when mixing it. to enhance communication of their temperatures of about 1500°F is • White glue, adhesive, and jewelry experiences and ideas. required. While kilns used for clay findings will be needed for assem- will serve the purpose, it is better bling the pieces. WEB LINK to use a kiln that is specifically for www.paragonweb.com/Kiln_Pointer. glass. Preparation cfm?PID=293 • Shelves made from clay or other It is advisable to pre-cut the glass for material. It is advisable to have students to prevent injuries. Use cut- more than one shelf so that while ting mats or boards to protect table- one load of glass is cooling, another tops when cutting glass. To cut glass, schoolartsonline.com WEB.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Tips for Thin Castings
    REUSABLE MOLDS FOR GLASS CASTING First some background: There is a Many of these molds have built-in force called “surface tension.” Sur- slumpers to add “life” to the final face tension causes any liquid to piece. A slumping schedule is also “bead up.” (An everyday example included. is the way rain drops bead up on a car’s hood.) If glass is hot enough, COE 96 Firing Schedule it will bead up, pull away from the Seg 1! 300˚F/hour to 1350- mold’s edges, and thicken. 1375˚F, Hold 10 minutes Here are the secrets to thin cast- Seg 2! AFAP (As Fast As Possi - ings with fine details: ble) to 960˚F no vent- ing. Hold 30 minutes Tips for Thin Castings ✓Use the Thin Fire fill weighs Seg 3! Off, cool kiln, no vent - As people become more experi- that can be found in “Fill enced with our molds, they start ing Weights at a Glance.” This wanting thinner and more deli- cate castings. Let us pass along lower fill weight is usually about these hints and advice to achieve two-thirds to half the fill weight COE 90 Firing Schedule that goal. shown on the packaging. One can add more or less frit to cus- Seg 1!300˚F/hour to 1375- nnn tomize the casting size. 1400˚F, Hold 10 minutes Seg 2!AFAP (As Fast As Pos - Use fine frit. It requires less ✓ sible) to 960˚F no vent- Many of our newer designs look heat work to conform the ing. Hold 30 minutes best when cast very thin.
    [Show full text]
  • UNLV Continuing Education Spring 2019 Glass Classes
    SPRING 2019 GLASS BLOWING & FUSION Glass Blowing: Introduction Glass Fusion Experience UNLV Continuing Manipulate molten glass using the Try the art of glass fusing as you craft Education is excited to blowpipe and related techniques a beautiful 8 inch bowl or a set of four work with Barbara and including blowing, jacking, blocking, 4x4 inch coasters. Instructors guide shaping, transferring, and finishing. participants through the process start Larry Domsky of Domsky Class time is divided between lecture to finish, teaching cutting techniques, Glass Studio to offer these and individual hands-on instruction. glass choices, project assembly, and unique glass art courses. Instructors will provide guidance, fusing options. All materials, tools, and Domsky Glass is located at troubleshooting, and resources to aid safety wear are provided. in the furthering of your glassblowing Sa | Feb 16 | 11am-1pm | $125 2758 S. Highland Drive in education. Topics include: studio Domsky Glass | 191AR1174A Las Vegas. safety and etiquette; introduction to Sa | Jun 9 | 11am-1pm | $125 tools and equipment; furnace and Domsky Glass | 192AR1174A gathering procedures; safe glass handling; solid working techniques Glass Fusion: Introduction Glass Blowing Experience (paperweights and other forms); Work with Bullseye Glass in sheet Experience the art of glass blowing in introduction of the bubble (blowing); form, as well frit, to create an 18 inch a small group setting. After covering and vessel making. Students will need glass bowl. In this introduction to glass safety rules for the studio equipment to pay $400 for materials at the first fusing, you will practice with basic and tools, you will get to work creating class session.
    [Show full text]
  • For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2019
    For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2019 $7.00 U.S. $8.00 Canada Volume 34 Number 3 www.GlassArtMagazine.com KilnMaster Touchscreen Programming just got really cool! • Built-in Wifi and Free App • Write and Name Your Own Programs • Remote Monitoring • Help Screens for Every Feature • Navigates like your Smartphone • Graphing • Hinged Controller for Perfect Angle • Logging • Built-in Library of Programs • Improved Diagnostics ...and so much more skutt.com/kmtwww.Skutt.com/kmt Touchscreen ControllerV3.indd 1 8/16/18 8:09 AM May/June 2019 Volume 34, Number 3 6 Independent Artist From Wind and Water to Pâtisserie The Evolution of Shayna Leib’s Sculpture by Shawn Waggoner 14 Hot Glass Studio Profile Cheyenne Malcolm’s Personal Retrospective The Artist Behind Canned Heat Glass Studios by Shawn Waggoner 20 Functional Glass Nick Deviley The Glassroots Art Show Moves to Asheville by Shawn Waggoner 26 Personal Development Creativity—Using the Rhythm and Harmony of Multiples by Milon Townsend 29 What's New 30 Winning Glass Contemporary Glass Initiatives from The Corning Museum of Glass by Kimberly Thompson 34 GAS News GAS + British Glass Biennale New Partnership and Award Supports Worldwide Innovation and Collaboration by Tess McShane for the Glass Art Society 36 Warm Glass Studio Profile Vitrum Studio’s Judith Finn Conway and Kevin O’Toole Educating a New Generation of Kiln Forming Artists by Shawn Waggoner On the cover: Shayna Leib, 6 species. Photo by Eric Tadsen www.GlassArtMagazine.com Glass Art TM • May/June
    [Show full text]
  • Fusing Fusing
    ® Artist Robert Wiener FusingFusing ToolsTools && AccessoriesAccessories ProductProduct CatalogCatalog www.dlartglass.com © 2019 D&L Art Glass Supply © 2019 D&L Art Glass Artist Nancy Bonig 303.449.8737 • 800.525.0940 Table of Contents About the Artwork Cover - Artist: Robert Wiener, DC Art Glass Series: Colorbar Murrine Series Title: Summer Salsa Size: 6" square (approx.) Website: www.dcartglass.com Photographer: Pete Duvall Table of Contents- Alice Benvie Gebhart Title: Distant Fog Size: 6 x 8" Website: www.alicegebhart.com Kilns ..........................................................................1-16 Tabletop Kilns .......................................................................................................... 1–3 120 Volt Kilns ............................................................................................................1-5 240 Volt Kilns ........................................................................................................ 6-12 Kiln Controllers at a Glance .....................................................................................13 Kiln Shelves .......................................................................................................... 14–15 Kiln Furniture and Accessories ................................................................................16 Kiln Working Supplies ....................................... 17-20 Primers & Shelf Paper ...............................................................................................17 Fiber Products & Release
    [Show full text]
  • Download New Glass Review 08
    The Corning Museum of Glass NewGlass Review 8 The Corning Museum of Glass Corning, New York 1987 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, dal3 sie the 1986 calendar year. innerhalb des Kalenderjahres 1986 entworfen und gefertigt wurden. For additional copies of New Glass Review Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: Sales Department The Corning Museum of Glass One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1987 Alle Rechtevorbehalten, 1987 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-: 1-116-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Kongref3-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements and Comments/Statements und Kommentar der Jury 4 Artists and Objects/Kunstler und Objekte 9 Doug Anderson's Finders Creepers 30 Bibliography/Bibliographie 33 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 35 Countries RepresentedA/ertretene Lander 68 ch mag die Arbeit von Mark Lorenzi - jedenfalls mag ich das, was Jury Statements Imir das Dia davon wiedergibt. Diese Farben passen auffallend gut zu- sammen, und Hohe und Starke der Mauer scheinen erstaunlich, aber genau richtig fur diesen Durchmesser. Das Objekt kann ebenso gut ein like Mark Lorenzi's piece - at least I like what the slide tells me about it.
    [Show full text]
  • The Coming Museum of Glass Newglass Review 23
    The Coming Museum of Glass NewGlass Review 23 The Corning Museum of Glass Corning, New York 2002 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 between der Voraussetzung ausgewahlt, dass sie zwi- October 1, 2000, and October 1, 2001. schen dem 1. Oktober 2000 und dem 1. Okto- ber 2001 entworfen und gefertig wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Rew'ewkonnen angefordert werden bei: The Corning Museum of Glass Buying Office One Museum Way Corning, New York 14830-2253 Telephone: (607) 974-6821 Fax: (607) 974-7365 E-mail: [email protected] To Our Readers An unsere Leser Since 1985, New Glass Review has been printed by Seit 1985 wird New Glass Review von der Ritterbach Ritterbach Verlag GmbH in Frechen, Germany. This Verlag GmbH in Frechen, Deutschland, gedruckt. Dieser firm also publishes NEUES GLAS/NEW GLASS, a Verlag veroffentlicht seit 1980 auBerdem NEUES GLAS/ quarterly magazine devoted to contemporary glass- NEW GLASS, eine zweisprachige (deutsch/englisch), making. vierteljahrlich erscheinende Zeitschrift, die iiber zeitge- New Glass Review is published annually as part of the nossische Glaskunst weltweit berichtet. April/June issue of NEUES GLAS/NEW GLASS. It is Die New Glass Review wird jedes Jahr als Teil der Mai- also available as an offprint. Both of these publications, ausgabe von NEUES GLAS/NEW GLASS veroffentlicht. as well as subscriptions to New Glass Review, are avail­ Sie ist aber auch als Sonderdruck erhaltlich.
    [Show full text]