10Th Annual Gallery of Women in Glass 6 Featuring the Work of 123 Female Flameworking Artists

Home , Art glass, Glass beadmaking, Glass fusing

Winter 2014 10th Annual A glass journal for the flameworking community Gallery of Women in Glass

Kathryn Guler

Tutorials by Penny Dickinson Gina Gaffner $9.00 U.S. $10.00 Canada Vol 12 Number 4 Maureen Henriques Deborah Read Lisa St. Martin Elise Strauss

Publisher ~ Maureen James Editor ~ Jennifer Menzies Dear Readers, Founding Editor ~ Wil Menzies We are thrilled to bring you the latest Women in Glass Copy Editor ~ Darlene Welch issue of The Flow. This 10th annual showcase of the work Accounting ~ Rhonda Sewell of over 120 female flameworking artists reminds us just how Circulation Manager ~ Kathy Gentry imaginative we ladies can be when it comes to expressing ourselves in glass. You’ll also find six terrific tutorials for Advertising ~ Maureen James soft and boro projects that include dichroic coated copper Graphic Artists ~ Dave Burnett foil and silver glass encased floral beads, tips for creating Mark Waterbury simple faces, and painted focal beads. Add the Glasscaster Contributing Artists and Writers interview with flameworking maven, Liz Mears, plus the Christine Ahern, Marcie Davis profile on the latest adventures of artist Laurie Young, and Penny Dickinson, Gina Gaffner we think you’ll agree that this one great issue. Maureen Henriques, Jennifer Menzies All of us at The Flow want to thank you, our readers, for your continued support Deborah Read, Lisa St. Martin over the past year. We count it a privilege to bring you this enduring resource to Elise Strauss, Laurie Young help make your glass art better than ever. In a world where many people think that Darlene Welch digital media has surpassed the printed word, it’s interesting to note that magazine ISSN 74470-28780 is published quarterly readership in general has actually risen over the past five years. Studies show that by Glass Patterns Quarterly, Inc. even in the age of the Internet—even among groups that we might expect to be POSTMASTER: Send address more hooked on digital media—the appeal of hard copy magazines is growing. changes to The Flow, Educational journals like The Flow are meant to be collected, shared, and referred P.O. Box 69, Westport, KY 40077 to over and over again as a source of inspiration for artists and students alike. Telephone: 800-719-0769 It’s a place where techniques can be learned, new designs can be discovered, and 502-222-5631 ideas from flameworkers the world over can spark fresh ideas in your own work. The Internet can be exhilarating in the moment and bring us new info, but it can Facsimile: 502-222-4527 also be fleeting. Sometimes, even if we find something that inspires and motivates Website: www.theflowmagazine.com us, we try to revisit the site only to discover that the material has vanished in the E-Mail: [email protected] mist. But print media is forever and is always waiting to be rediscovered. We have Subscriptions: (4 issues) heard from many of our readers who are proud of their extensive collection of is- $28 for one year, sues from The Flow and look forward to adding many more to their treasure trove. $52 for two years, $74 for three years, If you value The Flow—if it brings you inspiration and helps you continually Kentucky residents, add 6% state improve your own creations—then be sure to support the magazine by renewing sales tax. International Rate your subscription or by starting a new one if you don’t have one already. Then $48 one year, $87 two years, share what you like with the people you know and encourage them to subscribe $124 three years. as well. You can also help make The Flow the perfect magazine for flameworking All subscriptions must be paid in U.S. dollars with artists by visiting us on Facebook and letting us know what and who you’d like to an international money order or see featured in the pages of this great magazine. We look forward to hearing your with a check drawn on a U.S. bank. suggestions to help us reach our goal—being the best flameworking publication Periodicals Postage Paid available. at Westport, KY 40077 and additional mailing offices. As always . . . Keep your light shining and your torches lit! Sample issues U.S. $9, International $13. ©2014 The Flow. Editor and staff assume no responsibility Jennifer Menzies for the claims of advertisers or their services, Editor nor do we endorse any particular business. The articles reflect the views of the writer, not necessarily those of the magazine. Dancing Bears The Flow is not responsible for materials such Deadlines for Editorial Submission by Elise Strauss as photographs and letters, and they will not be returned unless accompanied by a self-addressed, Spring 2015 Nature stamped envelope. All material will be presumed Submission Deadline extended to January 15, 2015 to be for publishing and is subject to editing unless Summer 2015 Marbles & Paperweights otherwise indicated in writing. Submission Deadline March 1, 2015 The Flow urges its readers to proceed cautiously in If you are interested in becoming a contributing artist for The Flow, respect to technical information or visit www.theflowmagazine.com for a link to themes of upcoming step-by-step articles. Always take proper issues, author guidelines, and submission forms. safety precautions when working with glass.

The Flow/Winter 2014 3 Table of Contents The Flow/Winter 2014 Volume 12 Number 4 Flow

3 Letter from the Editor 10th Annual Gallery of Women in Glass 6 Featuring the work of 123 female flameworking artists

Glasscaster with Marcie Davis 26 Liz Mears Still Livin’ the Creative Life

Artist Adventuress Laurie Young 30 by Christine Ahern and Laurie Young

What’s Hot 34 Featuring the latest in innovative products for the flameworking enthusiast

Saving the Rhino . . . One Bead at a Time 36 Demonstration by Maureen Henriques

39 Reader Reflections Dichroic Coated Copper Foil Beads 40 Demonstration by Lisa St. Martin

Simple Face Construction 42 Demonstration by Elise Strauss

Dread XXX Painted Beads 47 Demonstration by Deborah Read

Silver Glass Encased Floral Bead 50 Demonstration by Penny Dickinson

Fried Eggs and Bacon Skillet 56 Demonstration by Gina Gaffner 62 Advertisers’ Index On the Cover Bead by Kathryn Guler. Photo © David Orr Photography. Table of Contents Great Gray Owl by Cleo Dunsmore Buchanan.

4 The Flow/Winter 2014 USE what the Pros USE ProSeries

Visit skutt.com/glass/video/scarab.html to watch a video of product description with Marcel Braun.

Lacey St. George/Lacefaceglass.com pictured at DFO Competition at Cornerstone Glass photo courtesy of Artistic Outlet Media Scarab & Scarab XL

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1 Wendy Adams [email protected] 2 Tracey Alfaro [email protected] 3 Amy Anderson [email protected] Photo by Greg Anderson 4 Lea Avroch www.facebook.com/LAJewelryDesign 5 Kris Ball [email protected] 6 Heather Behrendt [email protected] 7 Denise Billups Walker www.firedancelampworkbeads.blogspot.com 8 Leslie Anne Bitgood www.crazywomanglass.com 9 Judy Blount www.etsy.com/shop/WillowCreekBeads

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10 Ada Bording www.facebook.com/adababysglass 11 Cheryl Bott www.etsy.com/shop/EyeCBottGlass.com 12 Laura Bowker www.LauraBowker.com 13 Astrid Boyce [email protected] 14 Sarah Brown www.thetartantrout.co.uk 14 15 Cindi Brunell [email protected]

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16 Elizabeth Bunn www.elizabethbeads.com 17 Christina Callahan www.duffglass.com 18 Terri Carol [email protected] 19 Nikki Lynn Carollo www.nlcbeads.com 20 Fran Carrico www.francarrico.com 21 Dawn Ceccacci [email protected] 22 Michele Coletti www.desertrabbitdesign.etsy.com Photo by David Orr 22

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23 Donna Conklin www.PrimaDonnaBeads.com 24 Holly Cooper www.hollycooper.com 25 Babette Cox www.babettecox.com 26 Deb Crowley debcrowley.com 27 Karen R. Crown [email protected] 28 Ronit Dagan/Orly Wexler [email protected] Photo by Nimrod Genisher 30 29 Holly Dare www.hollysfolly.com 30 Sheila Davis www.stonedesignstudio.com

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31 Ingrid de Haast www.glassbeads.co.za/2013/blog/ 32 Julie Delaney [email protected] 33 Penny Dickinson www.pennydickinson.com Photo by David Orr 34 Diana Dunn www.fusionillusionartglass.com 35 Cleo Dunnsmore Buchanan [email protected] 36 Nina Dusedau [email protected] 35

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37 Grace Edwards www.theGlassShoppeStudio.com 38 Theresa Ehlers www.theresaehlers.com 39 Jennifer Field www.jenniferfieldstudios.com 40 Kim Fields www.northfiredesigns.com 41 Gail G. Finney www.CoronaBeads.com Photo by David Orr 42 Leslie Ford [email protected] 43 Karen Fox [email protected] 44 44 Dee Frey 42

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45 Bernadette Fuentes www.bfuentes.com 46 Kerri Fuhr www.kerrifuhr.com 47 Jeannie Galt www.jeanniesbeads.etsy.com 48 Gina Gaffner www.glassbyboots.com 49 Melanie Graham www.melaniegrahamstudios.com 50 Kathryn Guler www.kathrynguler.com Photo by Doug Baldwin 51 Mary Ann Helmond www.mabeads.ca Photo by Alex Garcia 52 Maureen Henriques www.pumpkinhillbeads.etsy.com 52

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53 Darryle Jadaa www.darrylejadaa.com 54 Jelveh Jaferian www.jelvehdesigns.etsy.com 55 Melissa Johaneson-Rice www.etsy.com/shop/FlameTouchedGlass 56 Emily Johnsen www.etsy.com/shop/GlassGoddessBeads 57 Cheryl Jones www.cjlampwork.etsy.com 58 Kiersten Kern www.redopal.etsy.com Photo by David Orr 59 Rose Klapman www.beadshaper.com Photo by Marvin Klapman 60 Jill Knapp Campbell [email protected] 58

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61 Helen Kovacs www.reddogglassstudio.com 62 Lucie Kovarova [email protected] 63 Patty Lakinsmith www.pattylakinsmith.com Photo by Doug Baldwin 64 Marcy Lamberson StudioMarcy.etsy.com 65 Susan Lambert [email protected] 66 66 Crystal Levesque [email protected] 67 Sallie A. Licata www.salicataartglass.com

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UNITORCH HAND TORCH Lewis Wilson with his Paragon F-130. This kiln is available with the optional industrial mercury relay. We can also make this kiln in either 120 or 240 volts. The 2” x 8” bead door includes two flexible gaskets. “If you are going to do serious work, you will need a Paragon oven” —Lewis Wilson Lewis Wilson is not a typical glass artist. that was designed specifically for my style He lived in Morocco as a child, taught him- of working. I go in and out many times self to eat fire and juggle by age 11, and was while working on large sculptures. My oven part of the Apollo 12 ground medical crew recovers heat very quickly. Thanks, Para- during the second lunar landing. Forty gon.” RED MAX years ago Lewis made his first glass figu- Paragon kilns are not just assem- BENCH BURNER rines with Bunsen burners in a medical lab. bled—they are hand crafted. And for your Surface Mix or Premix Topfire He taught himself from a library book. safety, the F-130 and BlueBirds are tested Lewis developed an early relationship by TUV to meet UL and CSA standards. with Paragon kilns. “My wife and I use Paragon offers the widest selection of three different Paragon ovens,” said Lewis. lampworking, glass fusing, and bead kilns “My receiving oven is a very old Paragon in the industry. Call now ceramic oven that I bought used 31 years or email us for a free cata- ago. Barb uses a BlueBird XL for soft glass log and the name of a local and small boro work. I use a Paragon Paragon distributor. Sign F-130 for my tabletop work oven.”

photography: dougbaldwinphoto.com up for Paragon’s free Kiln “The quality of your work is greatly in- Pointers email newsletter. fluenced by the quality of your equipment,” added Lewis. “It is good to have an oven Constantly Bench Burners finding ways Major • Midrange Plus to make better kilns. Minor • Mega Minor • Midrange Red Max • Rocket The F-130 with precision door. Hand Torches Multimix • Unitorch 2011 South Town East Blvd., Twinfuel • Ranger Mesquite, Texas 75149-1122 800-876-4328 / 972-288-7557  416-438-3325 Toll Free Fax 888-222-6450 Barb working in her studio. Note the custom www.paragonweb.com nortelmfg.com color on her Paragon BlueBird XL. [email protected]

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68 Melody Lynch www.melodylynch.com 69 Susan Matych-Hager www.hagerstudiosglass.com 70 Marlene McDonald www.marlenemcdonald.com Photo by David Orr 71 Jodie McDougall [email protected] 72 Penelope Merke www.facebook.com/PMGlassworxs Photo by Jordan Eadie 73 patsy monk [email protected] 74 Rebecca Moore [email protected] 75 Amanda Muddimer www.mangobeads.co.uk Photo by Penny Oliver 76 Joy Munshower www.JoyMunshower.com 77 Lyn Musgrove [email protected] Photo by J. Sharber Howell 77

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78 Kirsty Naray www.kirstynarayglassarts.ca 79 Alana Nicholson BeadAndFlame.com 80 Kristy Nijenkamp www.nijenkampglass.com 81 Dolores Noggle [email protected] 82 Julie Nordine [email protected] 83 Sheila Papaioannou www.medusasstones.com 84 Janice Peacock www.janicepeacock.com Photo by Azad 85 Marilyn Peraza www.perazabeads.com 86 Donna Prunkard [email protected] 86

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87 Susan Elizabeth Richards www.northernmermaidbeads.com 88 Diane M. Rogers www.facebook.com/Jux2posedDesigns 89 Hannah Rosner www.GoodRiverGallery.com 90 Frances Ross [email protected] 91 Elaine Rusk www.elaineruskglass.com 92 Chris Sanderson www.beadsbychrissanderson.blog Photo by Dennis Walston 93 Kris Schaible www.krisschaible.com 90

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99 101 94 Jody Elasia Schiavo www.elasias.com 95 Vicki Schneider www.expressiveglass.com 96 Heather Sellers dragonflylampworks.blogspot.com 97 Margie Shanahan www.margiesbeads.biz 98 Jari Ann Sheese [email protected] 99 Miriam Steger-van der Schrieck www.facet-design.com 100 Elise Strauss [email protected] 101 Barbara Svetlick www.barbarasvetlick.com

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102 sylvus tarn [email protected] 103 Juanita (Nita) Tibbets [email protected] 104 Kyra Toffey www.LeoStudios.etsy.com 105 Polly Toombs [email protected] 106 Janie Trainor www.etsy.com/shop/RicoDelux 107 Hayley Tsang Sather www.envisionsf.com 108 Helene Vanderschelden www.passionatelycreated.etsy.com 108 109 Julie VanEmber lampworkbyJulie.etsy.com 110 Aja Vaz www.ajavaz.com

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111 Regina Ventre [email protected] 112 Amy Waldman-Smith www.amywaldmansmith.com 113 Sandy Wapinski [email protected] 112 114 Chris Warrington www.etsy.com/shop/Amiyahstreasures 115 Felicia Wartnik www.feliciaannie.com 116 Jody Welch www.glassartendeavors.etsy.com 117 Misha Steve Whisenand www.eugenerain.com

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118 Stephanie White www.etsy.com/shop/whitehotcreations 119 Jeri Wiskus [email protected] 120 Karen Woodward www.KarenWoodwardStudios.com 121 Frances Wrenn [email protected] 122 Laurie Young www.australianartglass.com 123 Photo by Reza Keikha 123 Tari Zarka www.aaote.com Flow

The Flow/Winter 2014 25 Glasscaster with Marcie Davis Liz Mears Still Livin’ the Creative Life Larger Photos featuring Artwork by Pete Duvall of Anything Photographic

Below are excerpts from a Glasscaster interview featuring flameworking artist, Liz Mears. The podcasts feature “hot glass talk in a high tech world.” This series, hosted by Marcie Davis, can be found at www.firelady.com or on iTunes.

Before we talk about your most recent work, tell us a little about how you got started in glass, Liz. I started with flat glass in the 1970s making small objects— stained glass, leaded glass, copper foiled, all that sort of thing. It Liz teaching at the flame just grew from there, and eventually I was doing very large-scale church windows. Stained glass of that magnitude is a different, time-consuming process, and I wanted to start working in something that was more instantaneous, spontaneous, and three-dimensional. My glass images are stylized much like those that I paint. I work When I discovered flameworking in the mid ’90s, that was just in several different series, usually focusing on one at a time, and like an epiphany. It was wonderful, and it fulfilled everything that I feel that each one informs the others and can inspire new series. I wanted to do at that point in time. I also enjoy working with other materials, which I often combine I took a class with Susan Plum at Penland School of Craft back with the glass that I create. I like work that is simple and serene, not in 1994. I had also taken one with Fred Birkhill two or three years over the top in the use of color or parts, so that is what I try to make. before that. Since the class with Susan, I’ve pretty much been in- You’ve been busy with a number of exhibitions. What is their volved in flameworking full time. focus? And where is your glass journey taking you now? This year I participated in a fall exhibition, Spirits of the Flame, For an artist who considers herself semiretired, I am involved at the Bender Gallery in Asheville, North Carolina, with two other in many glass-related projects—exhibitions, art, teaching—and I amazing women flameworkers, Karen Buhler and Demetra Theofa- serve on the boards of several arts organizations. My creative work nous. It was exciting to participate in this three-woman show with has moved from total focus on my own work in my studio out to the such gifted artists. My work was comprised of several bundles of larger world. I try to promote glass as art and sculpture and provide twigs and baskets of leaves, two series I have worked in for several for other artists to learn their skills and have time to develop them. years. I also included what I feel is the beginning of a new series—a I consider myself semiretired, because my husband and I have vessel form with leaves scattered on the outside of the vessel. In fact, bought a home in Floyd, Virginia, in the southwestern part of the Scattered is the name of that piece. Demetra’s work is also based state, where we plan to move permanently by 2016. I have no studio on nature themes but is very different than mine, and Karen’s work there, a situation that will be remedied by the spring of 2015, so I is figurative and humorous. I feel this is a really good combination have had to find other ways to feed my creative monster when we representing sculpture made by women flameworking artists. are at River Farm. Some of those take the form of working out in In March 2015 I will be the featured artist at the Troika Gallery in the more than twenty flower gardens that I have or making new Floyd, Virginia. Floyd has become the epicenter of creativity along sculpture from recycled parts for the open spaces that exist there. the Blue Ridge Mountains as artists of all sorts have moved into When I do find time to work in my studio, my focus is still the hills and valleys of the region. Potters, wood artists, painters, sculpture that is related to nature. My personal statement is: “The writers, musicians, and others who wish to live a creative life have objects I create tell the stories of my relationship to my inner and settled there. As a result, it has an international draw. outer worlds through images that are derived from natural forms.” The work I am creating for the Troika exhibit is in my glass book Those natural forms are macro versions of the plant world, most series. Pages of the large glass books are made from sheets of glass often trees and leaves. I majored in biology in college, so I learned fused together, and the small glass book pages are made from tubing all about the inner workings of plants, which, to this day, I find fas- opened in the flame. Each contains images from personal photog- cinating. That, and the fact that I come from a long line of gardeners, raphy and text from poetry that I have written. I have not exhibited makes me love plants. I do not try to make representational work the glass books since 2008, so this will be a rare opportunity for but focus, rather, on the essence of the form. folks to be able to see those.

26 The Flow/Winter 2014 Bundle of Mixed Desires

Bowl of Autumn

The Flow/Winter 2014 27 I am also curating a glass exhibit that will open at the Jack- sonville Center for the Arts in Floyd, Virginia, on May 30, 2015. This exhibit will feature artists from the state of Virginia and the greater Washington, D.C. region. I have selected artists who are working in various forms of glass—stained, fused, cast, blown, and flameworked—to create an overview of what is being done creatively and technically in each of those different aspects of glass. The title of that exhibit is Rhythms of Glass and will co- incide with the Virginia Blue Ridge Music Festival, a biennial classical music festival in the mountains. I am very excited to have this opportunity to gather works of the highest quality and present them to the region. Are you still sharing your techniques in the classroom? In July 2014 I taught a class in flameworking at Penland School of Crafts, “Repetition and Rhythm in Sculpture.” I had a full class of folks from all over the country. We concentrated on using clear glass and focused on shape and form. It was such fun for me to see how they took in the information. Then each one ran with it in his or her own direction. They created some amazing pieces in only two weeks. I was fortunate to have Rob Kincheloe as my assistant. He is a natural born teacher, and since we have very different per- sonalities and approaches to glassmaking, the students got the best of both worlds through our examples and conversations. As always, it is a pleasure to be at Penland, whether in the busy summer months or in the more quiet winter season when I have worked in the print studio there. Did I hear that you are working on a special musical project with your husband? My husband Mike is an engineer, pilot, musician, and luthi- er—a person who makes stringed instruments such as violins and guitars. In an activity not related to glass, he and I are planning a program for the James Renwick Alliance that will be held at the Katzen Arts Center of American University in Washington, D.C., on February 7, 2015. From Bach to Bluegrass: The Craft of Stringed Wood Instruments and the Music They Make will be a three-part program that begins with a panel discussion about the craft of making stringed instruments. That will be followed Liz and The Three, a collaboration with Bill Forrest by two performances, one of Bach and one of Bluegrass, so the audience can compare and contrast the various sounds produced by the instruments in light of the discussion they have just heard. We feel that this will be a unique and exciting program and have enjoyed putting together the stellar panel and the two music groups who will be performing. I really admire the many different ways you have supported Teaching and working with these different arts organizations is the arts. Are there any arts organizations to which you feel a a way for me to give back to the community that has been so sup- particular connection? portive of me over the years. I continue loving to live a creative life, In recent years I have had the pleasure of working on the boards and I feel blessed to have the opportunity to work with glass art. It of several different arts organizations. The Creative Glass Center of is through my connection with glass that I have met amazing and America is associated with WheatonArts in New Jersey and provides interesting people, traveled, become more aware of the larger world glass artists with residencies of various lengths. The James Renwick of art, and can express my ideas in whichever direction they lead me. Alliance is the support organization for the Renwick Gallery of the Smithsonian Institution in Washington, D.C., and supports the acqui- Flow sition of crafts for that institution as well as bringing in master artists four times a year to present workshops. That’s actually how I began flameworking, when Susan Plum came there back in the ’90s. The Jacksonville Center for the Arts provides all sorts of arts opportunities © Copyright 2014 by The Flow. including performance, music, and visuals for the citizens of Floyd All rights reserved. and beyond. And The Rensing Center in South Carolina provides residencies of various lengths for artists working in all sorts of media.

28 The Flow/Winter 2014 Icy Promises of Heat

The Flow/Winter 2014 29 Artist Adventuress Laurie Young

by Christine Ahern and Laurie Young

Photography by Reza Keikha from Melbourne, Australia

specialist in the ancient French technique of pâte de verre, glass artist Laurie Young is on a never-ending quest of exploration and AAjoyous discovery. A keen traveler and scuba diver, her cultural experiences and passion for the life aquatic are in perfect synergy with her arts practice. Her work is playful, complex, and lively, and expresses rich abundance with startling intricacy and precision. Laurie exhibits widely, in Australia and overseas, and her work with partner Christian Arnold is in the collections of Sir Elton John, the Sultan of Brunei, Kobe Lampworking Museum, Shanghai National Theater, and numerous private and public collections around the world. Their jewelry was chosen by the World Health Organization to give as tokens of appreciation to visiting scientists. They have also been finalists in the Ranamok Prize for Contemporary Glass for Australasia, both together and individually eleven times in its twenty-year history. Here is Laurie’s story of artistic adventure in her own words.

Full work and detail of Le Rêve du Rossignol, 60" x 25"

30 The Flow/Winter 2014 Finding Glass I was born in California more years ago than I care to recount. Travel has always been my passion, and I found myself in Australia almost by accident in the early ’80s after a chance encounter while living in Florence, Italy, with an Australian ceramicist. There were Since 2005, my partner Christian Arnold and I have been run- cheap airfares to be had, and I decided to come have a look. Inter- ning our own glassblowing studio, Nudibranch Art Glass, at the estingly, thirty years later, I am still here. Meat Market Craft Centre, an historic bluestone building in North I began my love affair with glass as a teenager, working in flat- Melbourne. We specialize in the fantastical, the unusual, the impos- glass lead lighting, strictly as a hobby. I completed a fine arts degree sible. Imagination runs free, and the sky, jungle, or ocean depths in Hawaii majoring in photography but continued to dabble in glass. are the palette that underlies our work. We are often inspired by our After moving to Australia in 1984, I eventually built myself a travels, with destinations ranging from the Australian Outback and kiln to start fusing and slumping. Meanwhile, I pursued a career the Great Barrier Reef to the oceans and mountains of this great as a psychiatric social worker for many years before returning to land, along with frequent travels overseas. Often, a specific body Melbourne’s Monash University fifteen years ago to pursue my of work will follow after our return from Borneo, Laos, Tasmania, passion for glass and to dedicate myself full time to it. Indonesia . . . The Flow/Winter 2014 31 Two Diverse Aesthetics Come Together Chris and I met while I was in my final year at Monash in the glass department. He had already completed his Masters at the Royal Melbourne Institute of Technology after finishing a scientific apprenticeship with his father Rainer. Chris’s amazing sense of the absurd clicked quite well with mine, and after joining forces we decided to try to bring something a bit new to the mix. At the university I had specialized in casting, using the ancient technique of pâte de verre but making fairly large-scale sculptures. Challenging to say the least, but an important learning curve. After meeting Chris, a master flameworker, we began to do collaborative pieces as well as our individual work. We had both studied and practiced various forms of working with glass—furnace blowing, kiln work, and casting—but had come to conclusions particular to our individual talents. The combination of cast work and flamework seemed to work very well, even though our personal aesthetics are wildly different. My work is highly decorative and flamboyant, very kitschy and ornamental, while Chris maintains simple, elegant lines and is quite understated. Having Chris as my partner in life and work has been enormously beneficial to me and started me on the borosilicate path. Having a master flameworker in the studio had fast-tracked my flameworking A World Full of Inspiration path, although I tend to try to jump ahead of my skill level and have Currently I am working on developing a way to combine the to be brought back to the basics. For me personally, it is sometimes various techniques in a more integrated and organic fashion, which not knowing that I cannot actually do something that leads me down allows me the intricacy of the torch with the scale of casting. It is a the path of the most satisfying discovery. It is a constant struggle work in progress, but I think there are possibilities to be had. It al- for Chris to try to keep me inside the lines. lows me to have the benefits of very precise color placement within a larger cast piece. I sometimes use a lot of premade inclusions with my work. Other times I just let the abundance go to the front. For example, with Le Rêve du Rossignol, while the components are relatedly very simple, on mass it takes on a sort of grandeur—or so I hope. Chris and I get our inspiration, which can become very incredible and unreal at time, from nature and from our travels. After every journey—to Peru, Japan, Cambodia, or other far-flung places—we tend to do a body of work that reflects our experiences and under- standing of what we have seen and done. Being able to travel to and experience other countries and cultures has an indelible imprint on the mind and artistic outlook. We are also both very keen scuba divers and take a lot of inspiration from the underwater world as well. Imagination is the starting point along with a sense of humor and of the absurd, and we realize that there is absolutely nothing we can think of that nature hasn’t already tried. The sheer scope and beauty of the underwater world, not to mention its weirdness, provide an inexhaustible source of creative ideas. Currently Chris and I are packing our bags for our biggest adventure yet. We have sold our place in Australia, which has been our home for over twenty years, and are coming to the United States to pursue our glass joint career. We have purchased an RV in Oregon and will take six months or so to travel across the United States, meeting up with other glassblowers and deciding where we will put down our roots. Our studio dog, Chica, will be with us on this grand adventure. We look forward very much to meeting up with you! Flow www.australianartglass.com

On the Advanced Techniques and Marbles CDs you’ll find a collection of projects in PDF format. These articles are selected from over eight years of The Flow archives. All of the Tutorials and Articles are by and about leading glass artists and “Starfish” by Kate MacLeod industry experts. Using CBS Dichroic Extract Most of these projects are step-by- step and include four-color photography. Have fun learning new techniques from our experts.

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www.thef lowmagazine.com

The Flow/Winter 2014 33 What's

Fire Mountain Gems and Beads introduces Pendant and Drop Sets. These beautifully detailed three-piece drop sets include two smaller drops with a matching larger drop. Made exclusively for Fire Mountain Gems and Beads, they are created using molds from vintage Czech buttons. The sets are constructed of pewter and are finished with antiqued silver or gold. Visit the company’s website for a free copy of the 448-page, full-color Jewelry Maker’s Catalog with these and many more products available from Fire Mountain. 800‑355‑2137 541‑956‑7890 On the Sculptural-1 and 2 CDs www.firemountaingems.com you’ll find a collection of projects in PDF format. These articles are selected from Paragon Industries has just added new features to its F-130, over eight years of The Flow archives. F-240, and F-500 lampworking glass kilns, which now have All of the Tutorials and Articles are 3"-thick firebrick walls. Features that originally came standard by and about leading glass artists and industry experts. The CD also includes only on the F-500 are now standard on the F-130 and F-240 as an Artist Gallery, Reader Gallery, Women well. They include a mercury relay to control the cycling of the in Glass, and Emerging Artists. heating elements and a slide-out mandrel holder that can be ad- Most of these projects are justed horizontally and vertically without tools. These kilns also step-by-step and include four- now come with sidewall elements that heat from the sides and color photography. Have fun back, but they can still be ordered with top elements, if preferred, learning new techniques from for the same price. our experts. 800‑876‑4328 972‑288‑7557 www.paragonweb.com

Olympic Color Rods introduces 24" Elecroplated Diamond Discs from Molly Supply. These discs have been tested by some of the most respected cold workers in the Seattle area, and the feedback has been consistently positive. They have a magnetic backing and are available in a variety of grits from 40 to 400. All discs have an arbor hole of 1.25", but larger holes may be cut at an additional cost. Please visit the website for additional information. 800‑445‑7742 206‑343‑7336 www.glasscolor.com

His Glassworks provides better work lighting with the 24" Flexible Arm Work Lights from Moffatt Lighting. Available as direct mounts with accessories for magnetic mounts and C-clamp mounts, Moffatt Lighting is easy to use, versatile, and long-lasting. These lights are a perfect complement to your work area. Visit the company’s website or call to order. 800‑914‑7463 828‑254‑2559 www.hisglassworks.com

Cutting Edge Products introduces the Pinner Jack, the company’s smallest Black Jack to date. It combines a small jack handle with 5‑1/2"-long jack blades. These are just the right size for the boro artist or flameworker. Jeff Lindsay, who makes all of the Cutting Edge jacks, chose cold-formed spring steel treated with a special rust inhibitor for the jack handles. The blades have an oval profile, taper to a slight point, and are made from a high-quality spring steel with excellent wear properties. Best of all, they are extremely smooth, so they slide easily across the glass without scratching. Jeff combines his experience and commitment to create superior products for the flameworking artist. Contact Red Hot Metal, Inc. for more details. www.theflowmagazine.com 530‑342‑1970 [email protected] www.redhotmetal.net

34 The Flow/Winter 2014 Ed Hoy’s International now has Flame-Dri Bead Release, a release and lubricating agent for steel mandrels used in beadmaking. Flame-Dri Release eliminates the need for pre-coating and air-drying mandrels. Just dip the mandrel in the prepared Flame-Dri Release and into the flame for immediate use. Visit the company’s website for more details. 800323‑5668 [email protected] www.edhoy.com

Glass Patterns Quarterly invites you to join the glass industry’s best instructors for the upcoming Glass Expert Webinars™, a great way to learn new skills and techniques without leaving home. These live, two-hour seminars include teacher demonstrations and technical videos and slideshows, plus the opportunity to ask questions via “live chat.” Webinars slated for early 2015 include: Joy of Fusing On the Bead & Jewelry 1 and 2 with Randy Wardell (Jan. 8), Make a Fused Sink with Lisa Vogt (Jan. 20), CDs you’ll find a collection of projects and The Pebble Experience with Tanya Veit (Feb. 7). Call or e-mail to in PDF format. These articles are se- register for these great classes, no traveling required. lected from over eight years of 800‑719‑0769 [email protected] The Flow archives. www.glasspatterns.com All of the Tutorials and Articles are by and about leading glass artists and Coatings By Sandberg (CBS) has new classes for February 19–22, industry experts. The CD also includes 2015. Learn the art of photographing glass with Doug Baldwin. Women in Glass, Emerging Artists, and Make a pendant and sculptural piece on the torch with Josh Mazet a Canadian Gallery. and then have it Dichroic coated. Paula Radke will teach you how to combine Dichroic Most of these projects are step-by- Extract with art glass clay to make an amazing bracelet. And finally, explore hot molten step and include four-color photogra- glass with Stephen Woodruff in his Paperweight & Glassblowing class. CBS’s class prices phy. Have fun learning new techniques have stayed the same for over ten years. Visit the company’s website for all of the details. from our experts. 714‑538‑0888 www.cbs-dichroic.com

Dichroic Alchemy introduces a new line of dichroic image theme packs created from the company’s massive image catalog. These packs allow the artist to sample the three most common image chip sizes, as well as have access to the most popular selections, without a large expense. New packs will be featured each month and will also be available from Glasscraft/Winship, D&L, and Mountain Glass Arts. Visit Dichroic Alchemy’s website to custom order any image from the theme pack collection or to see the latest featured theme packs. 866‑451‑2254 [email protected] www.dichroicalchemy.com

EU Glass has a new, visually appealing home page that is easier to navigate and includes cream-of-the-crop new products. Look for 33 COE borosilicate glass from Schott, Lenz Laborglas, Glassco Labs, Glass Alchemy, Trautman Art Glass, and Griffin Glass. There’s also a great selection of products from Dichroic Alchemy, West County Millefiori, Mike Close Marble Molds, The Ti Pen, Glowlight Glass, and Moldavite that is hand carved by family gem cutters from Czechoslovakia. 215‑957‑6600 [email protected] www.eu-glass.com

CLASSIFIED AD Retiring collector offering extensive original, signed contemporary glass art from renowned artists’ work spanning 30+ years. For photos and information, e-mail [email protected] or call (828) 577‑6590.

Flow www.theflowmagazine.com

The Flow/Winter 2014 35 Saving the Rhino . . . One Bead at a Time

Text and Demonstration by Maureen Henriques Photography by Joe Henriques

have loved the rhino ever since I was a kid. Now their existence I is severely threatened, forcing them to the brink of extinction. I Effetre 104 Glass make and sell these rhino beads to help raise awareness of the plight Dark Gray Rod of the rhino. All the of the proceeds go to sanctuaries, rhino orphan- Dark Gray 2 mm Stringer ages, food, vet care, and ranger protection. I don’t keep a dime. Intense Black Stringer The rhino has been around in some form or another for over 50 Tools and Materials million years. If poaching continues, they can and will disappear Razor Tool Mashing Tweezers from this planet in roughly five years. I will continue to fight with Brass or Graphite Marver my last breath to stop this from happening. Nonserrated or Blunt-End Tweezers

Lay down 1 3 a large spacer bead using the Swipe glass Dark Gray rod and on either side of squish slightly with the fatter end to mashing tweezers create the haunches. to flatten.

2 Swipe a ridge Add glass to of glass on the 4 either end, creating other end to make a kidney bean shape. the withers, aka shoulder blades.

One end of the “bean” should be fatter than the other, since that end will be the butt.

36 The Flow/Winter 2014 9 5 Using the Dark Gray stringer, add dots for the ears, tail, and horns.

Add dots of glass to the underside of Make sure the dots are melted in and attached, since we will pull the body, connecting to the haunches them out later. An interesting side note: Indian and Javan rhinos have and withers to create the legs. one horn, while the Black, White, and Sumatran rhinos have two.

Make sure the dots are melted in completely. Add glass as needed and shape with the blunt-end tweezers, pulling slightly down to 10 create the legs. Heat the bottom of the legs and flatten evenly to create the feet, then use the Dark Gray 6 stringer to add the toes.

Rhinos have 3 toes, by the way.

Add extra glass on the hind end to create the butt, then add glass on the opposite end for the neck.

Flatten the neck slightly with the brass marver. 7

Add the head and pull it into shape.

Using the 8 razor tool, create wrinkles and folds of skin plus the crease for the rhino’s backside.

The Flow/Winter 2014 37 Add a small amount of glass for the tail with the Dark Gray 11 stringer and pull out, attaching the tail to the back leg. Add a small dot to the end of the tail and crease with the razor tool. To finish, warm the piece and tweak any necessary points, then place your Use Intense rhino in the kiln to anneal. Black stringer to Flow add the eyes. www.pumpkinhillbeads.etsy.com

Maureen Henriques has degrees in photography and graphic design, and has taken metalworking and jewelry classes at Parsons School of Design. Thus, it 12 was only natural that she would go into Finish the waitressing. It wasn’t until she was at a details for the small craft show in 1996 that she first saw rhino’s body. lampworked beads and decided to take the plunge. Diving in, Maureen taught herself the basics of beadmaking, and in 1998 she took her first class with Kristina Logan, which fueled her passion and refined her techniques. She has since taken classes with other notable glass artists. Heat and flatten the ears with blunt-end tweezers, then pull the Today, Maureen is a full-time lampworker and an advocate Dark Gray stringer out to a point and slightly forward. Next pull for the survival of the rhino and elephant. Her work can be the horns out to points in the desired shape. found online, at shows, and in galleries around the country. You can find out more about rhino and elephant bead dona- tions on her Facebook page, www.Facebook.com/rhinobeads.

If we don’t have it, we can make it.

www.weaverind.comwww.weaverind.com Everything we produce is made with pride by craftsman in the United States.

38 The Flow/Winter 2014 Reader Reflections

To Kathy Gentry, Circulation Manager: Thank you for the wonderful donation of 67 copies of The Flow’s 5th Annual Winter 2009 Women in Glass issue. It’s been awhile, and although I didn’t recognize the cover, I did recognize the great tutorials in the issue. The Hippy-Dippy Flowers tutorial by Amy Waldman-Smith gave me one of my favorite beads to wear. It was a perfect project for me, but I got a big bead release breakage lesson from that bead, as well as my favorite lesson—that mistakes can be a blessing. The unfinished bead looked Lampworking & Glassblowing Supplies so good that I decided to wear it just like that. The bead looks like a very cool mod- COE 33, 96 & 104 ern art shape, and I get compliments on it whenever I wear it! I also loved Keri Fuhr’s 866-448-1199 tutorial and felt blessed when I traded beads with her at the 2012 Gathering. HotGlassColor.com The issue is chock-a-block full of fun for 2225 5th Ave, Seattle, WA 98121 our members and for me to enjoy all over again. Thank you for your continued spon- sorship of the Southern California Flame Surfers. It will be a great pleasure to give each individual who attends our Holiday Bash this great issue of The Flow. Glassworking Torches & Accessories I wish you and the entire staff a wonderful Holiday Season and a great 2015! All the best, Say Hello Nina Dusedau to Bethlehem's President/Vendor Liason So Cal Flame Surfers Most Advanced The Flow would like to extend a sincere Torch to Date… thank-you to our readers who take the time to let us know how we are doing. Whether it’s to let us know about something that you think we’ve done well or to show us how you think we can improve, we value your More BTUs than the PM2D! input. You can share your opinions by con- tacting us via postal mail, e-mail, or phone. www.bethlehemburners.com The Flow Hellertown | 610-838-7034 8300 Hidden Valley Road Westport, KY 40077 [email protected] (800) 719‑0769 (502) 222‑5631 Visit our website and renew, subscribe, The thoughts and feelings expressed order back issues, and link to advertiser websites. in the Readers’ Forum do not necessarily reflect those of the publisher or The Flow www.theflowmagazine.com magazine.

The Flow/Winter 2014 39 Dichroic Coated Copper Foil Beads

Text and Demonstration by Lisa St. Martin

kay, I’ll freely admit it. I am a Glitter Gal. I like a bit of sparkle. Dichroic Coated Copper Foil (DCF) from Coatings By Sand- Oberg (CBS) is another great way to add that extra bit of happiness to your glass. I love using Dichro in my work, so that means I have at least four different COEs of Dichro in my studio to keep sorted out. With Dichroic Coated Copper Foil, since it is not on sheet glass but rather sprayed on a sheet of copper metal, it has no COE. Yippee! I can use it on any glass, soft to hard. This tutorial is really a basic teaser to get your brain jumping with the possibilities. The directions are for a simple bead. I have Photography by included some other photos of beads that I have made playing Cyril St. Martin around with DCF. CBS provides great labeling and resource information on the company’s website. There are lots of good videos there to watch. This product is a bit misunderstood. Folks get upset when they One word of warning, however . . . keep and reuse the pink antistatic receive it, and the Dichro has flaked off the copper. No worries for bag that the DCF comes in. The DCF will stick (forever—ask me me, though. I like it that way. Actually, I tend to flake it off myself how I know) to the inside of a regular zippy bag, which makes it on purpose. For flamework or furnace work, I think it would be really pretty but basically useless. great either rolled up right off the copper sheet or as frit. It would be amazing used in fused glass. With Dichro, the color is determined by how many layers of the coating are sprayed on the glass sheet. Since it is three times thicker than a regular dichroic coating, it has a beautiful, cool, blu- ish silver mother of pearl (MOP) coloring to it. It also splinters and definitely has a grain. When it flakes off of the copper, it has a curl to it. I love that aspect, because it really reflects and bounces the light around and will give you subtle MOP rainbow colors. Since it is a shiny silver color, it also can give you amazing results when you encase it in a lighter transparent color. Okay, let’s get started. To begin, prepare the Dichroic Coated Copper Foil. I am using black and clear for this, because it is so visual. Decide if you are going to roll up right off the copper or put all those wonderful sparkly bits in a frit tray.

Effetre 104 COE Glass Rods Black Clear Aqua Ink Blue Coatings By Sandberg Dichroic Coated Copper Foil Tools and Materials Mandrels Bead Release

40 The Flow/Winter 2014 1 Lay down a 5 core of black glass and shape.

Roll the bead in the Dichro again, 2 encase in clear, and shape. Get the Because I can’t help myself, I decided to roll it in the Dichro surface of the for a second time. Add a couple of swipes of color in Aqua and Ink base bead hot. Blue, then melt in and add black spiderwebbing. Heat, then marver slightly to make sure the spiderwebbing is stuck on the bead but still raised. Reheat to round up the spider‑ webbing. Put the bead in the kiln. Be done! Now let your brain swirl and It should be hot enough to pick up the Dichro, but not enough imagine what other ways to use this amazing glitter bomb stuff. for the bead to loose its shape. Before we go, let’s review. Dichro Coated Copper Foil is: ● so much fun. ● so sparkly. ● no COE. ● more fun. 3 Flow www.glassbeads.com

Lisa St. Martin was classically trained in art education at the Roll the bead in the Dichro University of Maryland. With and burnish it in. graduate courses in glass technology at the University of Kansas, Lisa has been I put mine in a frit tray. Brush off any Dichro that is not stuck working with hot glass since onto the bead. Reheat lightly if you want to pick up some more. the 1970s. Working under a grant from the National Endowment for the Arts, Lisa studied glassblowing 4 and engraving at the Jon Meyer Studio as well as with artisans from Steuben in Corn- ing, New York. With work all over the world and in many books, Lisa’s time is spent refining her craft, developing new techniques, and teaching. She served on the Inter- Encase the bead in a thin coating national Society of Glass Beadmaker’s (ISGB) National of clear to protect the dichro, Conference Team as the Loss Prevention Specialist/Artist then melt in and shape. Liaison. Lisa was also the recipient of the ISGB’s 2010 Hall of Flame Award. She lives in northern Virginia, where she You can use a color instead of clear, but choose a lighter color tries to keep her husband, two sons, and many cats at bay! so the silver will shine through.

The Flow/Winter 2014 41 Simple Face Text and Demonstration by Elise Strauss Construction Photography by Susan Serna

reating a sculptural face in soft glass was a real challenge for me. I wanted to make something that expressed emotion, radiating Cnot only from the character of the bead outward to the audience, but also making people feel something when they looked at the bead. For my Ocean Madonnas I needed a peaceful and loving face, and for my other work I wanted a happy face. I came up with the following, and I hope you enjoy it. The best part is that you can tweak these techniques and create your own signature face. Enjoy!

Creation Is Messy (CIM) Flesh Chai Rod and 2 mm Stringer (older peach/pink Chai version) Ginger Rod and 2 mm Stringer Cheeks Gelly’s Style 2 mm Stringer Effetre Lips Opaque Dark Pink 1 mm Stringer Tools and Materials Tweezers Razor Blade Small Brass Marver Poker Hollow Metal Tube with Squished End

42 The Flow/Winter 2014 1 4

Build a round lollipop shape on Add 2 lines of 2 mm stinger on the mandrel, tapering to a “tail.” top of the face shape for the brow.

The tail will be the neck if you choose to build a body. Using a brass marver, flatten one side of the lollipop. 2 5 Put a dollop of glass on top of the flattened side.

Apply two dots for the eyes. 3 6 Add two more slightly larger and offset dots for the cheeks. Use the brass marver and razor blade to flatten the dollop and shape it into the correct face shape. Make sure the dots are slightly to the sides of the face, not directly under the eyes. Taper the forehead down to a chin. 7 Create the chin with another dot.

The Flow/Winter 2014 43 8 Carefully lay 11 one line of stringer down, starting where the nose would be on the face and working upwards toward the forehead.

Make the eye slits.

This is an important step, because the smiling eyes add a lot of 12 character to the face. To create the perfect arch to the eyes, use a slightly squeezed end of a hollow metal brush. If you pull the eraser out of a pencil, the empty metal band is also an excellent tool you can use to create your own eye arch, since it squishes easily. Using the eye arch tool, carefully heat the eye dot and press the tool right into the middle of the dot. Don’t push too hard. Make the impression deep, but clean. Do the same for the other side. Shape the nose.

You will need to add a bit at the end for the tip, or “bulb,” of 9 the nose, and perhaps for the bridge. Pull the excess off toward the forehead and melt that in. Pull the nose tip outward and set the bottom of the nose with the razor blade.

Gently melt everything in. Use the razor 13 blade to keep the nose separated from the cheeks. At this point I usually leave the face and make the rest of the body. The gentle reheating of the face as you work on the body gradually melts and softens the features, so by the time you’re done with the body you are ready to add the lips and nose. For this tutorial, however, now is the time to gently melt everything in. 14 10

Add one more dot for the mouth and score it in half Using the 2 mm stringer, pull an with the razor blade. even smaller stringer off the end of the mandrel and prepare to add the nose.

44 The Flow/Winter 2014 Tips for Making “Lipstick” Lips Heat one 15 side of the face, For this face, I used CIM Gelly’s concentrating the Sty for the cheeks and Effetre Dark heat on the Pink Opaque for the lips. The follow- cheek area. ing is a tip on how to make lips with a more “lipstick” look.

Do not heat the lips, since they can lose their definition. 16 1

Use a thin stringer to make two dots close together. Stick the poker in the corner of the mouth and push upward and sideways to form one half of the smile. Do the same on the other side to finish the smile. 2 17

Put a third dot underneath the two, slightly melt them in, and score them in the middle with the razor blade.

Pull off any excess glass from the side of the head to make the face look well proportioned. Finished faces! 3

Heat one side of the three dots, maintaining the roundness of the profile.

Elise Strauss has been making S CORNINGtudio MUSEUM OF GLASS • CORNING, NY beads since 1995. At first a hobby, she began devoting more and more Winter 2015 time to learning the craft. That cul- Instructors minated in the decision in 2007 to quit her job and career at Providence David Willis Hospital to indulge her passion on Victor Trabucco a full-time basis. Since then, she Loren Stump was awarded a Rasmuson Foundation Individual Artist Matt Tyner Award in 2000. Elise has continued on her quest to master the art of Emilio Santini glass beadmaking by taking many classes and participating Suellen Fowler & in other artistic endeavors that enrich her love of working Hugh Salkind with glass. In May 2012, she traveled to Murano, Italy, to study under Lucio Bubacco, who opened her eyes to a treasure trove of new techniques. Being exposed to Lucio’s skill and passion for sculptural flameworking proved to be one of the most important moments in her life. When Elise is not in her shop working on glass beads, she is spending family time with her patient husband and her cat Max. She also loves participating in the sport of Learn from top artists Apply online agility with her three dogs, Dewey, Bode, and Pippa. Enjoy world-class facilities cmog.org/studio Immerse yourself in glass 607.438.5100

The ISGB is the leading organization for the promotion, education, and appreciation of the art of glass beadmaking for wearable, sculptural and functional art. Glass Bead Evolution is a quarterly digital magazine, included in ISGB membership. Back issues are available for purchase at www.isgb.org Join today to begin your subscription and take advantage of other member benefits like vendor discounts.

www.isgb.org | 614.222.2243

46 The Flow/Winter 2014 Dread XXX Painted Beads Text and Demonstration by Deborah Read

Photography by Matt Pike, Toronto Flameworking Technologies

Glass 1" x 1" Glass Squares All glass must match COE of bead glass. Painting Tools and Materials wide variety of applications, including painting on Kiln Shelf, Fiber Paper, or Fiberboard Shelf glass, have been drawn from the stained glass and DE401 Reusche Black Trace Color Paints Aglassblowing artisans and applied to lampworked beads. Binder Clove Oil Ink Pen Nib My first introduction to painting on glass was with Tony Eyedropper Plastic Snap-Cap Container Glander and his silk screening on glass classes, as well Spatula Paint Brushes Toothpicks as a class with master glass painter, Peter McGrain. I was Beadmaking Tools and Materials hooked. Then a few glass painting classes with J. Kenneth Glassworking Hand Tools Leap, and I was ready to explore and try it with beadmaking. Mandrel Bead Release Small Glass Rod Permanent Marker Marver Kiln/Annealer Glass Shears

Cut and clean 1 the glass squares, mix the Black tracing paint, and trace the outlines of the images 2 onto the prepared glass. Finish tracing the images, then let the paint dry Begin by cutting the glass pieces to the size you wish to make before firing in your bead. A 1" x 1" piece would be sufficient to make testers. Be the kiln. sure to clean the glass in preparation for use. Next you’ll mix the Black tracing paint with clove oil to use when tracing the images onto the glass. As long as there is not a thick covering of the paint, the piece First put a teaspoon or less of the powdered paint in a small can be fired almost immediately. Place the glass on a kiln shelf, mixing container. A simple plastic snap-cap container that has a painted side up, and ramp up to full speed to the temp required to tight seal lets you use the paint time after time without having to fire the trace black. (Read the firing range on your particular paints keep mixing more for each use. Now use an eyedropper to add the for specific recommendations.) clove oil and mix, drop by drop, till you get the consistency of a Once you reach the temp you need, shut off the thick ink. Clove oil is only one of the binders that are available. kiln and flash-cool to 1000°F, then close and let the You can also use others, such as lavender oil or squeegee oil, as kiln cool on its own. Since it is not a very thick long as they burn off clean. piece of glass, it will cool quickly. To test the consistency, dip the pen nib in the tracing paint and Now you have a permanent apply it to the glass, being careful to not load the nib with too much trace outline on the glass. The paint. You should be able to produce a thin line that does not break reason I like to fire the trace line or weep. is so that when the color is applied Have the glass clean and ready, then select an image you would it doesn’t smudge the outline. like to paint onto the glass. There are a multitude of free clip art books and Internet sources available. Place the picture under the piece of glass and start outlining the image using the Black tracing paint and clove oil mixture as you would a pen and ink drawing. Helpful Hint: As you trace the image, keep to the center of the glass and keep the edges clear. That way, if you overlap you can trim, or if you’re short you can add clear to the bead.

The Flow/Winter 2014 47 Gather the 3 5 colors and materials you Anneal the will need to images. complete the images.

Start by putting the images, painted glass side up, either on a hot plate, set at about 900°F–1000°F, or in the kiln on a fiberboard shelf or kiln shelf. Start out cold, then ramp to your annealing temp so that 4 the glass will not shock when you touch it with a hot gather of glass.

Take note 6 of the size of Color in the image outlines the glass image and fire in the kiln. pieces and estimate the proper diameter for the bead.

Just like a coloring book, fill in the spaces with color. This is some- I started with 1" x 1" and marked my marver to show the dimen- times referred to as reverse painting. sions so that when I needed to estimate the proper diameter of the As you fill in the colors, you can lift bead, I could use the marver to judge that. I also marked my dipped the glass to see how the image looks (and dried) mandrels with the width of the piece using a permanent from the other side. The painted side marker on my bead release. looks messy, but from the other side it looks great. If any paint goes over the lines, you can clean it off right away or wait till it’s dry and scrape it off Estimate before firing. Do not make the colors too thick, because they will whether your 7 bubble even when dry and flake off after firing. gather will be There is a wide variety of materials available, and the firing large enough to ranges vary from product to product. Here are the suggested include the painted temperatures of firing ranges for the paints from several different glass piece. product lines: • Reuche Enamels Powder, 1050°F–1080°F • Reusche Trace Black Powder, 1200°F–1250°F Mark the marver with a permanent marker to indicate the size • Glassline Paints, will fire to 1500°F of the flat sheet glass. Then while the bead is soft, hit the edge to • Fusemaster, 1175°F (will hold their color up to 1500°F) create a divot and roll it along the marver within the marked space Fire to the temp range for the colors you are using. I like to till the divot comes back around. As long as there is about 2 mm use the same range if I can, since there are lower trace black firing left before the end of the marked area is reached, you have enough. ranges. I have been using the 1350°F temp for both trace and color. If there is more than 2 mm left, add more glass. This is a Can you torch-fire your paint? The answer is yes, way to adjust for the thickness of the glass. It’s not but the kiln gives you more control, and you can rocket science, but it works. After a few also do multiple pieces at a time. beads, you will be able to estimate better When the firing is done, turn off the kiln and from the beginning. flash-cool to 1000°F, close the door, and let cool. At this stage, your pieces are ready to be applied to a bead or used in a fusing project.

48 The Flow/Winter 2014 8 Pick up 11 the colored glass image with the bead.

Heat up the gather till its almost glowing but not soupy. If you Keep the bead hot and are using your kiln to warm the glass squares, be careful because it work the ends. is more difficult to place this gather of hot glass right onto the flat glass through the bead doors. With the hot plate, it is so much easier to place the hot glass right on top of the piece. Now give a quick You can work the beads closed by pushing some of the clear tap and bring the bead back into the flame—right into the flame, toward the ends or add more color. Heat it up, then put it in the not at the end of the flame. kiln to anneal. Flow 9 www.deborahread.com

Wrap the glass sheet around the bead.

Keep the flame to the center but rotate around to keep the sheet hot. Originally from Can- nington, Ontario, Canada, Deborah Read moved to 10 Quakertown, Pennsylva- nia, in 1999 and began the journey toward becoming a mixed media artist. It all started when she attended jewelry making classes in early 2000. Then the need to find the most unique and interesting focal bead for jewelry designs drew her toward taking Keep working till the sides are lampworking, fusing, glass painting, PMC, wire- touching or close to touching. working, enameling, and metalsmithing classes with well-known artisans throughout the United States. With a lot of practice and constantly learning new techniques, Deborah has been expanding her If we overlap, we get to use abilities to create new and unique designs in a va- the shears! riety of media. Returning to Canada in mid 2005, she set up a studio in Cannington. Visit Deborah’s blog at deborahread.com.blogspot.com and join an artist’s journey.

The Flow/Winter 2014 49 Silver Glass Encased Floral Bead

Text and Demonstration by Penny Dickinson

Photo of Finished Bead by David Orr Photography

Tutorial Photos by Sean Dickinson

have been making encased floral beads almost exclusively for the past three years and have Iworked hard to improve the quality. Experiment- ing with various color combinations, background effects, and overall shapes and sizes of these beads helps in the process. Purple is my favorite color, and although I make beads in lots of different colors to sell, the Violet Opaque is one of my favorites. It’s purplicious! This tutorial includes step-by-step instructions to create this stunning encased floral bead with a silver glass background. Please read through the tutorial in its entirety before you sit down at the torch for the best possible results.

Effetre 204 White Opaque Stringers, 2 mm 058 Ink Blue Transparent Stringers, 2 mm 272 Violet Opaque Rod 228 Green Filigrana with White Core Dark Green Transparent Rod of Desired Color 1 Double Helix Aurae Aether Tools and Materials 3/32" or Larger Mandrel with Bead Release 3/32" Tungsten Pick/Probe Thin Stainless Steel Pick Serrated-End Tweezers Heat about a 1" end of the Blade Tool or Knife Green Filigrana rod and pull into Small/Thin Graphite Marver a 1 mm to 1.5 mm stringer. Osibin Graphite Lentil Shaper Be careful not to pull too thin or you will lose the vibrant green core. Cut and set aside for the vines.

50 The Flow/Winter 2014 2 Make a thin base bead approximately 6 1" long in Violet Opaque.

Encase the bead in Aether, smooth out the surface, and shape. 3 Create a small gather on the end of the Aether rod and swipe on glass from one end of the bead to the other (mandrel to mandrel being careful not to touch the mandrel) then flame-cut. Each additional swipe should slightly overlap the previous layer until the entire bead is encased in the Aether clear. It is imperative that you keep the bead below the flame so that Encase with Aurae by winding the it stays cooler and will not drag or distort the surface of the bead glass around the base bead in a while encasing. If your base bead is too close to the flame and starts slightly oxidizing flame to glowing, please, please, please let it cool before you start swiping completely cover the base bead. on the clear! Gently heat the entire bead to glowing to smooth out the surface. Shape into an olive or rounded bicone bead. Note: Do not reduce Once the glow begins to disappear, gently spin the bead in the Osibin the Aurae! lentil shaper to shape. Note: Marvering the bead while it is glowing hot will result in distorted patterns below the clear. Using the 4 Green Filigrana To smooth the stringer, scroll or ends of the bead, 7 just randomly apply turn the mandrel so around the bead to the end of the bead is create the vines. facing the flame and rotate the mandrel slowly until you see the glass smooth out.

Repeat on the other end, and this will give you excellent bead Gently heat 5 ends! the entire bead and press in the vines to create a 8 smooth surface. Select 3 or more areas on the bead for Note: If the stringer is left raised, it will trap air when you encase the flowers. the bead in clear, resulting in lots of unwanted air bubbles.

Use the white stringer to add 5 dots in a circle. Do this circle of dots in each flower location selected, then gently heat the entire bead to melt in the white dots. Do not heat the circle of dots alone. Heat the entire bead evenly.

The Flow/Winter 2014 51 12 9 Press in the dots and reshape the bead.

Using the Ink Blue stringer, At this point, you will probably see high spots in the bead where add 5 dots in a circle on top of each circle of dots are, since you have added additional glass in those the previous white dots, trying areas. Taking the Osibin graphite lentil shaper, gently press in each to cover them completely. circle of dots to re-shape the bead as the glow begins to disappear so as not to distort the circles of dots. Do this for all the flower locations. If a little of the white is showing, it’s not a big deal, but try to cover them if possible. Gently heat the entire bead to melt in the Ink Blue dots. 13 10

Using the white stringer, add 5 smaller dots slightly inside the previous dots in each of Use the white stringer to place the flower locations. 5 more dots slightly inside the previous 5 dots in each of the Gently heat the entire bead to melt in the white dots. flower locations.

Gently heat the entire bead to melt in the white dots. 14 11

Using the Ink Blue stringer, add dots on top of the previous white dots in each of the Add dots on top of all the white flower locations. dots with the Ink Blue stringer in each of the flower locations. Gently heat the entire bead to melt in the Ink Blue dots. Now you are ready to plunge the tungsten pick in the center of each of Gently heat the entire bead to melt in the Ink Blue dots. the sets of 5 dots to create the flowers.

52 The Flow/Winter 2014

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The Flow/Winter 2014 53 D&L Art Glass Supply Heat the bead 15 evenly to slightly . Wholesale pricing & quantity discounts glowing, then poke the tungsten pick in . Glass Alchemy, Northstar, Trautman, the center of the 5 Momka, Origin, Golden Gate, CBS dots deeply, repeating . Simax Tube and Rod for each flower. . Torches, tools and kilns 16

Using the white stringer, add dots near the flower where Artist: Beau Tsai © 2012 you want a leaf to be. TM www.dlartglass.com I like to add leaves in an area between two petals of the flower facebook.com/DL4boro where there is room. You can add one or two leaves per flower, depending on the amount of space you have left on the bead. 800-525-0940 . Denver, CO Gently heat the entire bead to melt in the dots half way. Now gently heat one dot that is still halfway raised and using the blade tool, cut a line into the dot perpendicular to the flower. Do the same to the remaining leaf dots. You’ve got the passion, the

drive, and the dreams ... Heat the 17 Dark Green transparent rod and add a dot on top of each white cut dot to cover completely.

Gently heat the entire bead to melt the green dots in most of the way. These should be left slightly raised. 18 We’ve got the tools to make your dreams come true.

Using the stainless steel pick, pull the points on each end of the leaves.

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54 The Flow/Winter 2014 Heat one leaf and place the pick on the outside of the cut line. Note: It is imperative that you keep the bead below the flame Pull out slightly to produce a point for the tip of the leaf. Then reheat so that it stays cooler and will not drag or distort the surface of the the dot and pull the inside of the cut up to the flower. The result bead while encasing. If your base bead is too close to the flame and should be that each end of the leaf is pointed. Repeat this step on starts glowing, please, please, please let it cool before you start all of the other leaves. swiping on the clear! Now that your flowers and leaves are complete, you are ready for the final encasement of clear. At this point, please check to be sure that your flowers still have a nice, sharp indentation in the center of each flower. If any of the indentations are no longer deep, reheat 21 the entire bead and poke again with the tungsten pick. Heat and shape the bead. 19 Gently heat the entire bead to smooth out the surface. Once the glow begins to disappear, gently spin the bead in the Osibin lentil shaper to shape. Note: If you marver the bead while it is glowing hot, you will distort the pattern below the clear. After all this work, you do not want to distort all those lovely flowers and leaves! Heat a small gather of the Aether rod and place a dot of clear glass on top of the indentation in the 22 middle of each flower to trap the air bubble. Smooth the ends of the bead. Heat a gather on 20 the end the Aether rod, swipe it from one end of the bead To smooth the ends of the bead, turn the mandrel so that the end to the other, mandrel of the bead is facing the flame and rotate the mandrel slowly until to mandrel, and you see the glass smooth out. Repeat on the other end, and this will flame-cut. give you excellent bead ends. Final note: Now, what happened to the Aurae that you never Each additional swipe should slightly overlap the previous layer reduced? The Aether has started to react with the Aurae, and you until the entire bead has been covered in clear glass. If you do not should have a nice colorful luster on the background color. The slightly overlap each swipe of clear, it is possible for the glass be- more you work and heat the bead, the more reaction you will create. neath to come up between the clear swipes and distort the pattern. I hope you have enjoyed my tutorial and have fun experimenting! Flow www.pennydickinson.com

Penny Dickinson has been making glass beads for nine years and has taken classes with numerous glass artists. Having co-owned © Copyright 2014 Let It Bead Studio with Jean Donaldson, in Glendale, Arizona, Penny had by The Flow. the opportunity to host over forty classes in five and a half years. She now volunteers All rights reserved. in the capacity of Director of Membership with the International Society of Glass Beadmakers (ISGB) and currently sells her work at two large bead shows every year. Her work is also in the gallery at The Melting Point, in Sedona, Arizona.

The Flow/Winter 2014 55 Fried Eggs and Bacon Skillet Text and Demonstration by Gina Gaffner Photography by Matt Mikulla

ears ago I started making fruit and veggie pipes and had the idea for a fried eggs and bacon skillet dish/ Ydabber set. After a good while of brainstorming and experimenting, I came up with the way it was to be done. Now I will teach it to you. I chose to use this piece for my tutorial because I felt it could open some creative outlets for artists out there who love to draw and want to do so with and on glass. The techniques you will learn in this tutorial will help do that. While making your skillet, really think about how you can implement your style with this technique. Is it a beachy sunset with birds flying in the sky? The possibilities are endless.

Glass Alchemy Rods 2 Sangria Walnut Eclipse Northstar Glassworks Steel Wool Rod (2) 1 Goldenrod 4 mm stringer Parramore Colors Pumpkin Rod Asian White Asian White 2 mm Stringer Additional Glass 32 mm Tube on Handle 5 mm Clear Rod Begin with the skillet handle. 10 mm Clear Rod (2) Tools and Materials Small Mashers Tweezers Sharp Reamer Graphite Paddle Encase a Steel Wool rod with a Torch L-Marver thin layer of clear, cook in, and pull Jewelers Hand Torch it out to 1‑1/4" long and about 6 mm Prep Blow Hose (optional) thick. Set it aside in the kiln. Place the other Steel Wool rod in the kiln to preheat.

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The Flow/Winter 2014 57 2 6 Starting on one of the Sangria rods, layer the Pumpkin, Walnut, and Sangria to create the bacon slab.

Draw the layers about 1‑1/4" down the Sangria rod. Heat about 1/2" of the 32 mm tube and blow out a “thing” bubble, not a bladder. 3 7

Really heat the bacon between every couple of layers and square off with a paddle and L-marver. Cook the bubble down flat about half way. 4 This is the base of the skillet. 8

Using the two 10 mm clear rods, punty up to the bacon slab.

Using the Northstar Golden Rod Squaring off the punties to match the shape of the slabs is a nice stringer, add two dots that will be way to insure an even pull. yolks and draw two strips of bacon onto the skillet base. 5 9

Heat the bacon slab up evenly and pull down the bacon strip as Cook in the yolk and bacon strips close to 4 mm to 5mm as possible. allowing them to implode but still maintain a small dome. It should be flat not round.

58 The Flow/Winter 2014 A nice way to achieve this is by cooking in and lightly puffing into the tube. Repeat this until everything is cooked in. Be sure to not blow the piece out too much, or you will lose the depth of the 14 implosion and the crisp lines of the yolk and bacon. Cold-seal Add the whites to your eggs using the Asian White rod. You a punty to the have one shot at this, so make sure you gather enough to completely center of the skillet. cover the yolk and then some.

10 With a hot, sharp flame, heat the clear glass next to the skillet rim. Cook the whites in the same way as you did the bacon and yolks. 15 11

Encase the As the glass starts to collapse, tube end with puff and pull a thin bladder. the preheated Steel Wool rod. Make sure to keep the bladder no bigger than the size of the skillet rim.

Go about two rows past the eggs and bacon. Those extra rows will be the walls of the skillet. Steel Wool can sometimes be difficult to work with. If the rod 16 seems too thick to handle well, do not hesitate to rework it and pull it down a bit. It seems to work a little smoother after it has been reworked. 12 Cook in the Pop a hole as close to the rim Steel Wool while as possible and cut in the flame. maintaining control of the piece. To be safe, melt any remaining bladder left on the tube in the flame.

If you blow the tube out too much, the eggs and bacon will turn out messy. Runny eggs! 17 Heat the 13 bottom of the skillet and flatten it with the graphite paddle. Clean up the rim of any extra glass and make sure the walls are straight and flat.

Spin it to make sure you have even skillet walls.

The Flow/Winter 2014 59 18 22

Weld the skillet handle to the skillet, Gather, mash, and square up making sure that both pieces are some Eclipse. hot and ready to become one.

Clean up any sharp angles with the jewelers hand-held torch. 23 19 Draw 3 Heat the lines on each side skillet and tap of the spatula. off the cold seal.

Be sure to polish where the seal was. Make sure you have no sharp angles around the white lines, but be careful to not melt the lines completely in. 20 24

With a sharp flame, heat the wall one by one for the indentions Disconnect, mash, and pull the where the spatula will rest. dabber tip out, and you’re done!

Shape with a reamer and polish up. You can use the skillet handle Flow to gauge where the indentations should go. glassbyboots.com 21

60 The Flow/Winter 2014 glass art society Gina Gaffner, also known as Become a memBer BoOTs!, began the beautiful journey The Glass Art Society is an international non-profit organization into glass in the winter of 2008, deep founded in 1971. We strive to stimulate communication among artists, educators, students, collectors, gallery and museum personnel, art in the heart of Austin, Texas. In 2009, critics, manufacturers, and all others interested in and involved with she and a couple great friends cre- the production, technology, and aesthetics of glass. ated Cherrywood Glassworks Studio, GAS offers many great member benefits including four online issues where she worked full time while of GASnews per year, access to the Member Directory, free classified blowing glass in all of her spare time. listings, domestic insurance benefits and much more. In 2011, after much hard work, she quit her job to pursue flameworking. join us in san jose, ca Gina is mostly self-taught with the June 5-7, 2015 exception of learning from her fellow shop mates and friends. Interface: Glass, Art, and Technology Her work consists of bright colors, and she loves to make home decor and garden art. In recent years she has also been heavily focused on making very realistic fruit and vegetable pipes, for which she is best known.

San Jose skyline, courtesy BoOTs loves to experiment and find new, creative ways of Team San Jose to make unique fun pieces. She shares her knowledge with The 44th annual GAS conference will feature prominent and emerging whoever is interested and enjoys learning from others as well. artists from around the world in demos, lectures, and panels. Gina’s career continues to thrive, and Cherrywood Glass- works is still the studio where she creates all of her artwork. Visit instagram.com/glassbyboots and glassbyboots.com to see her latest work. 6512 - 23rd Avenue NW, Suite 329, Seattle, Washington 98117 206.382.1305 www.glassart.org [email protected]

Upcoming Glass Expert Webinars™ for Winter 2015 Live Two-Hour Webinars with Renowned Glass Artists! No Traveling Required! Randy Wardell Corina Tettinger January 8 February 10 and 12

Tanya Veit Kent Lauer Pebble Experience February 17 January 13 and February 7 Picasso Fusing March 10 Tony Glander Dichroic Odyssey March 12 February 19

Lisa Vogt Dennis Brady January 20 and 22 Coldworking February 24 Screenmelt February 26 Barbara Becker Simon February 3 Cathy Claycomb March 3

Visit the Glass Expert Webinars™ link under “What’s New” at www.GlassPatterns.com for more details and local times.

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64 The Flow/Winter 2014