Fusing Decals & Inclusions

Total Page:16

File Type:pdf, Size:1020Kb

Fusing Decals & Inclusions TABLE OF CONTENTS FUSIBLE GLASS & PRODUCTS Includes: sheet glass, frit, powder, confetti, noodle, stringer & rod • 90 COE and System 96 Dichroic Glass................... 2 • 90 COE Glass ....................................... 29 • System 96 Glass ..................................... 63 • 82 COE / Float Glass ................................. 86 KILNS & ACCESSORIES • Kilns & Options . 90 • Shelves & Posts ..................................... 101 KILN WORKING SUPPLIES • Kiln Furniture........................................ 104 • Release Papers & Sprays ............................. 104 • Fusing Chemicals & Adhesives . 105 • Fusing Tools ........................................ 106 MOLDS • Frit Casting ......................................... 110 • Slumping & Draping.................................. 114 • Casting & Moldmaking . 132 PAINTS & ENAMELS • Paints, Enamels, & Mediums........................... 134 • Brushes, Sifters, & Tools .............................. 139 FUSING DECALS & INCLUSIONS On the cover: • Fusible Decals & Slides............................... 140 • Inclusion Paper, Wire, & Metals ........................ 143 Flagstaff artist, Judi Hartman, has been creating glass work for over three decades. A self-taught artist, her past artistic GLAS CLAY & METAL CLAYS endeavors included oil and acrylic painting, • GlasClay . 144 pottery, and more. Judi gave up all her other artistic efforts when she found she could, • Silver, Brass, Copper, & Bronze Clays . 145 at last, express her deepest feelings about her surroundings through the kinetic, ever- DS I PLAY & FINDINGS changing medium of light through glass. • Display Stands, Fixtures, & Mounting Systems............ 148 Judi calls her fused glass work “glass- • Giftware Findings.................................... 152 scapes” and with her depictions of trees, meadows mountains, and creatures, she • Bails & Findings ..................................... 154 tries to evoke in you the emotions she feels about God’s creation. Visit her at F EATURED PRODUCTS www.hartmanglassart.com. • ?????????......................................... 162 © 2011 D&L Art Glass Supply, Denver, CO 800-525-0940 www d. lartglass c. om 2 D ICHROIC 90 COE AND SYSTEM 96: CBS fusible glass & products & glass fusible CBS, Coatings by Sandberg, takes pride in creating Dichroic glass . Through precision manufacturing and careful monitoring, CBS produces Dichroic glass on a variety of glass types . Colors are consistent and uniform . Low color distortion properties at high temperatures make their products the first choice of the most demanding professionals and ideal for novices as well . CBS Dichroic Coatings are specifically designed to be hot worked . CBS coats their glass for use in: Glass Blowing, Flame Working, Fusing, Slumping, Beadmaking, and any other technique that involves the manipulation of glass with extreme heat . The main characteristic of Dichroic Glass is that it has a transmitted color and a completely different reflective color . Furthermore, these two colors shift depending on angle of view . With the play of light, together with its vibrant color, Dichroic Glass is a prime tool used to add interest to any piece of work or project . D&L features the 82, 90, 96, and 33 (Boro) products . Check out www .dlartglass .com for more images of these great products and start having some fun with shifting colors and light . Transmitted color is the straight-through transmission color and is listed first in the descriptions . The second color listed in descriptions is the straight-back reflected color . Due to the nature of manufacturing dichroic glass, some color variation may appear within sheets, among sheets of the same color and after firing . Specialty colors are designed to produce brighter, more vibrant colors when fired . Rainbow 1 and Rainbow 2 are sold as full or half sheets only . Our most popular Premium is Rainbow 2 . If you are unsure of how the glass will fire, order a color bar! STANDARD COLORS SPECIALTY COLORS PREMIUM COLORS PATTERNS SPECIALTY PATTERNS PREMIUM PATTERNS Yellow Violet Purple Green Magenta Brick 1 Balloons 1 Splinter Rainbow Yellow Purple Salmon Green Magenta Blue Square 1/2 Balloons 3 Cool Lava Yellow Blue Violet Green Pink Square 1 Boxes 1 Rainbow 2 Plus Pink Teal Emerald Silver Square 2 Boxes 2 Magenta Green Candy Apple Red Red Silver Blue Square 3 Stripes 3/4" (RBA) Blue Gold Black Cherry Rainbow 2 Dot 1 Stripes 1-1/2" (RBB) Cyan Copper Mixture Dot 2 Stripes 2" (RBC) Cyan Red Aqua Dot 3 Stripes 6" (RBD) Cyan Dark Red Marquis 1 Splatter Cyan Dark Dark Red Marquis 2 Target Rainbow Rainbow 1 Honeycomb Target Half Rainbow Aurora Borealis Reptilian Hot Lava Pixie Stix Corkscrews *CBS dichroic is also available on additional substrates by special order. Just call for additional information on substrates and patterned coatings. Sheet Glass Ordering Information: CBS sheets may be purchased in full, half, or quarter sheets . Full sheet size: 19" diameter, plan for the 3 clip marks on a full sheet . When ordering use: 1 = full sheet .5 = half sheet .25 = quarter sheet Remember a quarter sheet may have one clip mark! Also, check out the wide variety of Scrap Packs . COLOR BAR A great tool to learn how the colors shift on black and clear. DI CB CBS Dichroic Color Bar Image courtesy of ArtGlassUSA.com, all rights reserved. © 2011 D&L ART GLASS SuPPLy, DEnvER, CO 800-525-0940 WWW .DLARTGLASS .COM D ICHROIC 90 COE AND SYSTEM 96: CBS 3 SCRAP PACKS Mixture of patterns, textures, and solids. 90E CO SCRAP PACKS 96 COE DI 90 SCRAP BLK Dichroic Black 1/2 lb. scrap DI 96 SCRAP BLK DI 90 SCRAP CLR Dichroic Clear 1/2 lb. scrap DI 96 SCRAP CLR DI 90 SCRAP BPBBORDERLINE PATTERNS: Bag of assorted DI 96 SCRAP BPB random pieces on thin black glass. DI 90 SCRAP BPCBORDERLINE PATTERNS: Bag of assorted DI 96 SCRAP BPC random pieces on thin clear glass. DI 90 SCRAP KBL Crinklized on Black 1/2 lb. scrap DI 96 SCRAP KBL products & glass fusible DI 90 SCRAP KCL Crinklized Clear 1/2 lb. scrap DI 96 SCRAP KCL 82 COE CLEAR DI 82 SCRAP CLR Thin Clear 82 COE 1/2 lb. scrap N/A DICHROIC PIECES & PACKS CBS dichroic pieces are an affordable way to try new designs. Available in 90 COE or System 96 and in several sizes. Pieces may be on black and clear, textured and non-textured, and even-patterned and non-patterned. 90E CO PIECES 96 COE DI 90 1X8 1" x 8" Dichroic DI 96 1X8 DI 90 2X2 2" x 2" Dichroic DI 96 2X2 DI 90 2X4 2" x 4" Dichroic DI 96 2X4 DI 90 4X4 4" x 4" Dichroic DI 96 4X4 BLASTED DICHROIC PIECES One-of-a-kind, handmade, 4" x 4" coated and etched dichroic glass squares. Available on 90 COE clear and black glass only. You can use them to clear cap, fuse, cut, or slump. Great for accent tiles, coasters or incorporate them into an artwork piece. 90E CO COLOR 96 COE DI 90 BD BLK Blasted Dichroic Black N/A DI 90 BD CLR Blasted Dichroic Clear N/A BORDERLINE PATTERNS NEW from CBS! Detailed patterns with intricate, eye-catching colors. Sold on thin clear or thin black, in a wide variety of CBS dichroic colors. 90E CO BORDERLINE PATTERN 96 COE DI 90 BP 2X4 BK Borderline Pattern 2x4 Black DI 96 BP 2X4 BK DI 90 BP 2X4 CL Borderline Pattern 2x4 Clear DI 96 BP 2X4 CL DI 90 BP 4X4 BK Borderline Pattern 4x4 Black DI 96 BP 4X4 BK DI 90 BP 4X4 CL Borderline Pattern 4x4 Clear DI 96 BP 4X4 CL CRINKLIZED DICHROIC PIECES Pieces may be on black or clear, textured or non-textured, and even patterned or non-patterned. Crinklized dichroic pieces are an affordable way to try new designs. 90E CO CRINKLIZED PIECES 96 COE DI 90 K 4X4 4" x 4" Crinklized SOLID Dichroic DI 96 K 4X4 DI 90 KP 4X4 4" x 4" Crinklized PATTERN Dichroic DI 96 KP 4X4 © 2011 D&L ART GLASS SuPPLy, DEnvER, CO 800-525-0940 WWW .DLARTGLASS .COM 4 D ICHROIC 90 COE AND SYSTEM 96: CBS fusible glass & products & glass fusible CBS DICHROIC COATED FRIT IN 90 & 96 COE This product is not broken-up sheets of glass, but actually coated frit. After extensive research, CBS has designed a proprietary process that allows the frit to be coated on approximately 80% of the surface area of the glass. Due to this high ratio of coating vs. glass, the Dichroic Frit responds very differently under heating/hotworking conditions—a must-try for artists looking for a fresh or different look to their work. 90E CO COLOR 96 COE DI 90 FRIT BLK Black Dichroic Frit 2 oz. Tube DI 96 FRIT BLK DI 90 FRIT CLR Clear Dichroic Frit 2 oz. Tube DI 96 FRIT CLR STRINGER Dichroic coated glass stringers are 90 and 96 COE. These will definitely add some flash to glass pieces. Stringers are available in 1mm or 2mm thicknesses, on Black or Clear glass. 90E CO COLOR 1mm 96 COE DI 90 ST 1M BK Stringer 1mm Black (20) DI 96 ST 1M BK DI 90 ST 1M CL Stringer 1mm Clear (20) DI 96 ST 1M CL 90 COE COLOR 2mm 96 COE DI 90 ST 2M BK Stringer 2mm Black (7) N/A DI 90 ST 2M CL Stringer 2mm Clear (7) N/A 96 DICHROIC NOODLES Available in Black and Clear fettuccini noodles: flattened to approximately 1.35mm thick by 3/16" wide (4.5mm). Only availble in 96 COE. 90E CO COLOR 96 COE N/A Clear UR N 00 96D N/A Black UR N 56 96D BULLSEYE SIZZLESTIX 16" long (406mm) strips of dichroic glass cut from thin (2mm) Bullseye Clear and Black glass, pre-fired to round the edges and minimize thermal shock in the flame. Wide Sizzle Stix are 1/4" wide (6mm) and sold in tubes of twelve. Narrow Sizzle Stix are 1/8" wide (3mm) and sold in tubes of eighteen. Only available in 90 COE. 90E CO COLOR/WIDTH 96 COE BE 0100 09F 30 Black (Narrow) N/A BE 0100 09F 60 Black (Wide) N/A BE 1101 09F 30 Clear (Narrow) N/A BE 1101 09F 60 Clear (Wide) N/A © 2011 D&L ART GLASS SuPPLy, DEnvER, CO 800-525-0940 WWW .DLARTGLASS .COM F IRESTICKS 5 FIRESTICKS Brilliant dichroic pieces that can be used to add color, design, and texture to your fused glass products.
Recommended publications
  • Nd27arts P38-40 Copy.Indd
    THE A RTS that we mostly associate with glass, namely transparency and fragility, exploited. CREATIVE The basic materials used to make glass are silica (sand), a flux (soda or potash) and a stabiliser (for example, lime). The mixture turns into a liquid when heated to a high temperature and is then shaped through various techniques. It becomes solid when cooled. Glass is a solution and retains the random molecular structure of a liquid when it stiffens. Because it lacks a structure of interlocking crystals, it is transparent, easily USE OF GLASS shattered and deteriorates over time. Through additions to the basic recipe Civilisation/Industry, an art work in coloured glass, blown and heat-shaped with punctures, the quality, durability or workability of the produced by artist Pavel Hlava in 1983 final product is determined. Added iron gives green, selenium or gold produce red MARIANNE ELLIOTT and the addition of soda or lime results in controlled. Yet most techniques used in glass Regional Librarian, Southern Region a clear glass. During the post-industrial era making were developed before the scientific new uses for glass have been made possible. n ancient times glass was associated with revolution of the last two centuries. New glass is produced with specific proper- luxury and exclusivity and never used Glass can be coloured or colourless, ties that serve the product needs of artists, Ias functional, everyday objects. Glass monochrome or polychrome, translucent, engineers, scientists, architects and industrial- making was associated with mystery and transparent or opaque. During the first ists. Examples of contemporary applications processes were developed through careful 3000 years of glass making, other qualities are spun glass fibres for heat resistant cloth- observation of the production procedures.
    [Show full text]
  • Ghana's Glass Beadmaking Arts in Transcultural Dialogues
    Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985).
    [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]
  • An Empirical Approach to Colour in Glass
    arts Article An Empirical Approach to Colour in Glass Heike Brachlow School of Arts & Humanities, Royal College of Art, London SW7 2EU, UK; [email protected] Received: 1 December 2018; Accepted: 15 January 2019; Published: 18 January 2019 Abstract: This paper focuses on the characteristics and use of transparent homogenous coloured glass for cast glass sculpture. It provides an overview of glass colouring agents and their characteristics, and establishes factors that influence the appearance of colour in glass. Methods to visually evaluate appropriate colour density for a given form are discussed, as well as essential characteristics that a form must possess to achieve results within a density threshold area, where coloured glass changes in value and/or hue between thick and thin sections. Keywords: colour; volume colour; glass; glass casting; glass sculpture; glass art; optics; density threshold 1. Introduction Colour in glass is an extensive subject and one that I have been researching for many years, with a focus on colours for kiln cast solid glass sculpture. A given form’s appearance can change drastically depending on its colour, and on whether it is transparent, translucent or opaque. Colour decisions are of critical importance to glass artists—they can ‘make or break’ a work. Many glass artists’ approach to choosing colour may be loosely defined as ‘hit and miss’, a method which becomes more reliable as an artist’s experience increases. While glaze testing is an integral part of ceramics methodology, this approach is not always suitable for glass. Although glass artists do employ colour tests, especially when working with frits and powders or designs with multiple colours, to obtain effective test results on how a transparent colour works within a form, one would have to test at full scale, and essentially make a duplicate of the form, the first one being the test.
    [Show full text]
  • Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19Th Century
    BEADS: Journal of the Society of Bead Researchers Volume 15 Volume 15 (2003) Article 6 1-1-2003 Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19th Century Lester A. Ross Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Ross, Lester A. (2003). "Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19th Century." BEADS: Journal of the Society of Bead Researchers 15: 41-52. Available at: https://surface.syr.edu/beads/vol15/iss1/6 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. BOHEMIAN FACETED-SPHEROIDAL MOLD-PRESSED GLASS BEAD ATTRIBUTES: HYPOTHESIZED TERMINUS POST QUEM DATES FOR THE 19TH CENTURY Lester A. Ross Faceted-spheroidal mold-pressed beads have been manufactured Glass bead varieties and their attributes occasionally in Bohemia since the 18th century. Evolution of manufacturing have proven to be reliable as sensitive temporal markers technology has resulted in the creation of bead attributes that (e.g., Karklins 1993; Sprague 1983, 1985). Well-dated can readily be observed on beads from archaeological contexts. archaeological contexts containing faceted-spheroidal mold­ Many North American archaeological sites contain examples of pressed beads appear to be restricted to the second through this bead type; but few reports have identified the attributes, much fourth quarters of the 19th century.
    [Show full text]
  • Verdant Beauty, Espresso, and Warm Glass
    SGAA News Featuring the latest from the Stained Glass Association of America Verdant Beauty, Espresso, and Warm Glass by Bryant J. Stanton, SGAA Editorial Committee Member he Stained Glass Association of America’s 106th summer stained glass conference was an overwhelming success, setting Trecords for registered attendance and class participation. Those of us who arrived early had a chance to slip away and explore the beauty that is the Pacific Northwest. As we traveled around the area, we were surprised by the num- ber of espresso bars and coffee shops dotting the landscape. I was also struck not only by the natural beauty and culture of the area, but also by the new innovations and rich history of the large glass companies in the Pacific Northwest. I came away from the confer- ence with ideas and inspiration based on the new techniques that these companies are putting forth. The Bullseye Projects Gallery On one of our early morning forays, we jumped onto Portland’s MAX Light Rail system and rode it to the chic Pearl District to tour Detail of a fused glass panel by Tim Carey of The Judson Studios. the Bullseye Glass Projects Gallery with its fused, cast, and blown Photo by The Judson Studios. glass. The gallery’s propped-open, thickly cast glass door immedi- ately caught my attention. The double door is impressive, standing at least 3 inches thick and about 10 feet tall. To give an idea of the window’s scale, the head of Christ alone The cast glass was incised with architectural design elements is 5 feet tall.
    [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]
  • The Art of Micro-Channel Manufacturing
    THE ART OF MICROCHANNEL MOLDING IN MICROSCOPE GLASS SLIDES by SREE BHUPATHIRAJU Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON December 2012 Copyright © by Sree Bhupathiraju 2012 All Rights Reserved ii Acknowledgments My sincere gratitude goes to Dr. John Priest, Dr. Richard Billo, Mr. David Keens, Dr. Donald Liles, and Dr. Brian Huff for their guidance and advice as members of my graduate committee. I specially thank my supervising professors, Dr. John Priest, and Dr. Richard Billo, for their advice, guidance, encouragement, suggestions, and support. I would also like to specially thank Mr. David Keens, and Ms. Shannon Burnskill, from UTA Glass Art department, for their advice, guidance, and support by providing me intense knowledge in glass art, and by training me to work with glass in their studio. I would also specially thank Dr Romero-Ortega, from UTA Bioengineering department for his help in providing us with the designs and helping in testing the devices produced. I greatly appreciate all the help provided by a lot of my friends, members of Physics &Chemistry workshop, and all members of the UTA Glass Studio for their assistance and advices. Finally, I am most grateful to my family for their encouragement and support throughout my career with intense belief in me. November 15, 2012 iii Abstract THE ART OF MICROCHANNEL MOLDING IN MICROSCOPE GLASS SLIDES Sree Bhupathiraju, PhD The University of Texas at Arlington, 2012 Supervising Professors: John W.
    [Show full text]
  • Fiscal Year 2007 Annual Report (PDF)
    Penland School of Crafts Annual Report Fiscal Year 2006 – 2007 Penland’s Mission The mission of Penland School of Crafts is to support individual and artistic growth through craft. The Penland Vision Penland’s programs engage the human spirit which is expressed throughout the world in craft. Penland enriches lives by teaching skills, ideas, and the value of the handmade. Penland welcomes everyone—from vocational and avocational craft practitioners to interested visitors. Penland is a stimulating, transformative, egalitarian place where people love to work, feel free to experiment, and often exceed their own expectations. Penland’s beautiful location and historic campus inform every aspect of its work. Penland’s Educational Philosophy Penland’s educational philosophy is based on these core ideas: • Total immersion workshop education is a uniquely effective way of learning. • Close interaction with others promotes the exchange of information and ideas between individuals and disciplines. • Generosity enhances education—Penland encourages instructors, students, and staff to freely share their knowledge and experience. • Craft is kept vital by preserving its traditions and constantly expanding its boundaries. Cover Information Front cover: this pot was built by David Steumpfle during his summer workshop. It was glazed and fired by Cynthia Bringle in and sold in the Penland benefit auction for a record price. It is shown in Cynthia’s kiln at her studio at Penland. Inside front cover: chalkboard in the Pines dining room, drawing by instructor Arthur González. Inside back cover: throwing a pot in the clay studio during a workshop taught by Jason Walker. Title page: Instructors Meg Peterson and Mark Angus playing accordion duets during an outdoor Empty Bowls dinner.
    [Show full text]
  • Bullseye Glass Catalog 12
    Bullseye Glass CATALOG for Art and Architecture 12 CONTENTS SHEET GLASS What to Expect 2 Get a Reaction 3 Opalescent 4 Black & White 6 Tekta 7 Transparent 8 Irid & Textured 12 Cascade and Infusion 17 Streaky 18 Collage 20 Ring Mottles 22 ACCESSORY GLASS Billets 24 Frit 26 Stringer 32 Rods 34 Confetti & Murrine 38 Dichroic Glasses 39 ASSORTMENTS Glass Packs 40 Bullseye: More Than Glass Sample Sets 41 The Bullseye Factory in Portland, Oregon makes thousands of glass products in an unsurpassed color palette, using state-of-the- TOOLS & SUPPLIES art systems to protect the environment. We're also hard at work Cutting Tools 42 supporting the people who use our glass. Kilnwork Tools & Supplies 44 Bullseye Resource Centers are one-stop destinations for the full Coldwork & Finishing 45 Bullseye glass product line, all the tools to work with it, and classes Print & Glass 46 for all levels in a supportive, inspirational environment. You’ll find Kilncasting 48 them in the Bay Area, Los Angeles, New York, Portland, and Santa Fe. Torchworking 48 Molds 50 Bullseye’s Klaus Moje Research & Education Department tests Kiln Supplies 54 products and develops educational resources—classes, technical articles, FAQs, video lessons—as well as provides support to our Kilns 56 customers through the Bullseye Forum. Safety 59 Display 60 Bullseye Studio assists artists and designers from around the world, helping them realize their design and often developing new approaches to kilnforming in the process. MEDIA Books 62 Bullseye Projects offers exhibitions by international artists working Charts & Posters 65 in kiln-glass, as well as educational programming, collaborations, and residencies that push the conceptual, technical, and aesthetic TechBook & Video Lessons 65 boundaries of the medium.
    [Show full text]
  • National Art Experience
    National Art Experience National Art Experience 2015–2016 Participant Information In partnership with Tacoma, Washington #CampFireLovesGlass Glass Glass is the 2015–16 art medium and includes a wide variety of forms, such as hot-blown, mold-blown, flame-worked, sculpted, sandblasted, fused, slumped, enameled, painted, stained, mosaic, recycled, or a combination of these techniques. By participating in the National Art Experience, you will get the opportunity to learn how artists working with the medium of glass employ a variety of hot, warm, and cold techniques. You will get to experience working with some of the glass techniques. Using small glass tiles, you could decorate objects, such as vases and picture frames. You could create jewelry from glass beads or recycled glass or build mosaic tiles. You may be able to find a glass studio to try basic fusing or glassblowing experiences. There are an amazing number of different ways that glass can be used to create unique projects. Camp Fire is continuing to follow the established six-year cycle of art mediums for the National Art Experience—painting, fibers, printmaking, photography, clay, and open medium. The 2015– 16 program year is open medium, and Camp Fire is thrilled to partner with the Museum of Glass in Tacoma, Washington, to explore glass as an art medium. The purposes of the Camp Fire National Art Experience are to enable you to explore art as a career or hobby and encourage your creativity. To participate in the Camp Fire National Art Experience, you can choose from several activities. You may do these activities with your Camp Fire group, at your Camp Fire program site, with your family, or on your own.
    [Show full text]