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staub Gas.indd 1 1/15/14 1:31 PM Letter from the Editor 6 A Fall Farewell to David Alcala by Shawn Waggoner

Pioneers in Glass 8 ’s 50 Years of Blowing Glass by Shawn Waggoner November/December 2014 Volume 29, Number 6

Independent Artist Adam Holtzinger 14 The Art of Teamwork by Shawn Waggoner

Winning Glass 18 Bullseye Emerge 2014 Winners by Michael Endo

GAS News Conference 2015 20 Honoring Paul J. Stankard and Mary B. White for a Lifetime of Creativity by The Staff of the Glass Art Society

Working Greener UrbanGlass 24 All that Was Made New Again by Colleen Bryan

Skills and Techniques Pâte de Verre Eggshell Thin Technique 30 Design, Fabrication, and Text by Shin-ichi and Kimiake Higuchi 35 Readers’ Forum Marketing 36 Tips for Increasing Your Social Media Presence by Mark Veit

Art Glass Studio Profile Indre McCraw 38 Making Her Unknown Known by Shawn Waggoner

SGAA News 44 Infinite Horizons SGAA’s 2015 Summer Conference Exhibition

Educational Glass Vetrate Artistiche Toscane 46 Apprenticeship in Tuscany by Shawn Waggoner

AGG News 5 0 A “Glasstopia” Success by Tony Glander

2014 Glass Emerging Artist Award Winner 52 Filip Vogelpohl

GEAA Gallery of Excellence 54 Glass Craft & Expo Celebrates 20 Years by Shawn Waggoner

What’s New Above: Shin-ichi Higuchi, Butterfly, 10 cm x 9 cm x 5cm. Featuring the latest in books and On the cover: Fritz Dreisbach, Flamingo, Grapes, and 59 products for the glass enthusiast Pink Singing Scallops Goblets, tallest 15", 1991. by Darlene Welch Like us on Facebook. Also pin us on Pinterest. 62 Advertisers’ Index

4 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 5 Glass Art Letter from the Editor Volume 29, Number 6 A Fall Farewell to David Alcala Publisher ~ Maureen James Editor ~Shawn Waggoner On September 6, 2014, the world lost one of the Copy Editor ~ Darlene Welch good ones. David Alcala was a generous, kind, talented, Accounting ~ Rhonda Sewell and creative soul who touched all those he met with his Circulation Manager ~ Kathy Gentry gracious and positive personality. Born in Stockton, California, in 1951, Alcala served in the U.S. Army Advertising ~ Maureen James and later pursued his artistic side in Hawaii. A resident Graphic Artists ~ Dave Burnett of Pacific Grove for the past 14 years, Alcala and wife Mark Waterbury Claudia established their Sand To Glass Design Studio Contributing Artists and Writers there. Beginning in 2011, David traveled throughout the Colleen Bryan, Michael Endo , Canada, and as one of the top instructors and innovators in the glass . He was respected and honored by many for his selfless contributions. Tony Glander, Kimiake Higuchi Alcala, who worked for many years as a master sand artist, turned the kiln forming Shin-ichi Higuchi, Mark Veit world on its edge with his vertical approach to designing with layers of . His “Sand The Staff of the Glass Art Society ” technique involves standing two pieces of glass upright with a small space be- Shawn Waggoner, Darlene Welch tween them. The space is filled with layers of colored frit to create incredible imagery. Says Glass Art™ long-time friend and fellow kiln forming pioneer, Gil Reynolds: “This was a breakthrough approach. What he proposed to me was a new glass binder that would hold frit together ISSN 1068-2147 is published bimonthly in sheets that could be cut with scissors. The binder had to be strong, flexible, and burn by Glass Patterns Quarterly, Inc. away clear. Together we tried multiple chemical compositions until we came up with just POSTMASTER: Send address the right formula, and Flexi-Glass was born.” Alcala periodically spent time at Reynolds’ changes to Glass Art, studio where the two devoted many hours to testing, experimenting, and just playing with 8300 Hidden Valley Road, glass. “We had some wonderful times. He was a joy to be around, and he will be missed.” P.O. Box 69, Westport, KY 40077 Alcala is survived by his wife Claudia, sons Mark and Sean, sister Laura Alcala-Murray, stepchildren, 12 grandchildren, numerous cousins, nieces, and nephews, and a world of Telephone: 800-719-0769 glass artists and friends. 502-222-5631 Alcala was doing what he loved, teaching, when he passed away. Says Claudia: “I Facsimile: 502-222-4527 have received kind words from many people whose lives he touched. Thank you so much. Website: www.GlassArtMagazine.com He would think he was not deserving of all the attention. David truly loved teaching and E-mail: [email protected] inspiring others by sharing his ideas and his passion for art.” Subscriptions: United States, Canada, Keeping Alcala’s legacy alive by staying creative, and Mexico (U.S. Funds): one year $30; two years $48; three years $60. Foreign (U.S. Funds): one year $56, one year Shawn Waggoner airmail $70. Single copy price (U.S.) $7. Editor All subscriptions must be paid in U.S. dollars with an international money order or with a check drawn on a U.S. bank. Periodicals Postage Paid at Westport, KY 40077 and additional mailing offices. ©2014 Glass Patterns Quarterly, Inc. All items submitted to Glass Art become Blue by David Alcala the sole property of Glass Art and cannot be reproduced without the written con- Donations for the David Alcala Memorial Fund are being accepted to help Alcala’s family sent of the publisher. Advertisers and/or at www.biddingforgood.com/auction/item/Donate.action?auctionId=222539796. agencies assume all liabilities for printed Deadlines for Advertising advertisements in Glass Art. Opinions January/February 2015 March/April 2015 expressed in Glass Art may not necessar- ily reflect the opinion of the magazine, its Ad Closing November 20, 2014 Ad Closing January 20, 2015 Ad Materials November 30, 2014 Ad Materials January 30, 2015 management, or its advertisers. Issue Mails December 23, 2014 Issue Mails February 20, 2015

6 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 7 Pioneers in Glass FritzFritz Dreisbach’sDreisbach’s 50 Years of Blowing Glass “In works ranging from the delicate to the gigantic, from fluted, crystalline goblets that epitomize the moment of their making to massive that alter the time and space of their apprehension, Dreisbach has identified the knack of blowing glass closely with the art produced more thereby than anyone before.” Geoffrey Wichert

by Shawn Waggoner Fritz Dreisbach at Benjamin Moore Inc., Seattle, Washington, 1990. qual parts artist, scientist, and historian, Fritz Dreisbach has spent the last five decades teaching and demonstrating glass- Eblowing around the world. This “Johnny Appleseed of Glass” has himself played a vital role in the history of the American movement that he now strives to preserve and share with the next generation of artists and enthusiasts. Born in Cleveland, Ohio, Dreisbach grew up in Akron as part of a family of educators. His father, a college chemistry professor, and mother, a high school music and literature teacher, laid the founda- tion for their son to eventually achieve the level of Conciatore— versed in both art and science. A classic glass alchemist, Dreisbach holds two bachelor degrees, one in art and one in math. This duality is reflected in both his technical consulting for glass studios and factories as well as his continued exploration of hot glass. Dreisbach studied painting at the University of Iowa, earning his Master of Arts degree. Planning to eventually teach college level art, his advisor instructed him to study a wide variety of media. A two-credit, experimental course in was part of the curriculum. Serendipitously, his love affair with glass began the sum- mer of 1964, only two years after the seminal ’62 Toledo Museum of Art (TMA) workshops. That summer, Dreisbach first met and was inspired by three pioneers of Studio Glass—, , and . Dreisbach continued studies at the University of Wisconsin, earning his Master of Fine Arts degree. His academics included a hefty dose of art history including Ancient, , and 20th- century painting and . His diverse background in painting provided the basis for his proficiency with color theory. Dreisbach has led hundreds of workshops and lectures about glass in over 185 institutions worldwide. Traversing the country, teaching and spreading the gospel, earned him the moniker, “The Johnny Appleseed of Glass.” Dreisbach designed and built many hot shops in the 1960s and 1970s, including the one at Pilchuck Glass School. After his short visit in 1971, the artist began teach- Fritz Dreisbach, ing and advising at Pilchuck for over four decades and has served Crystal Optic Whirling Carved , as an artist trustee since 1993. He also helped found and direct the 8-1/4" high, 2009. Glass Art Society (GAS), which presented him with its Lifetime Achievement Award in 2002.

8 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com In the process of inspiring others to try glass, Dreisbach began studying and reinventing historic shapes in glass with his per- sonal brand of irony, humor, and fun. Children’s toys and games, funk ceramics, and 1960s comix all inspired Dreisbach’s early artwork. Some of his diverse early inspirations included Jackson Pollock, Claus Oldenburg, , Clayton Baily, Fred Bauer, Brent Kington, and R. Crumb. Above all, he endeavored to capture the fluid nature of the hot glass used to create his work. Dreisbach, who now lives on Whidbey Island, Washington, works out of his new glass studio in Freeland. There he creates his current series of wheel-carved and -. In addition, he continues to explore goblets, trick/joke , and toy vehicles.

Ceremonial Vessels Dreisbach’s 1970 goblet, Get It All Together Again, was made in concert with one of his mentors, Labino. “Nick had me help him blow a three-piece goblet, which was very unusual. He normally blew everything solo, but he planned a complicated piece as a demo for the March 1970 workshop.” Once annealed, Labino gave the goblet to Dreisbach, who took it home, engraved the surface with a diamond stylus, and returned it to Nick. “He had it for many years, and later his wife Libby presented it to me. I’m very proud of this piece, because it symbolizes a bond Nick and I shared. Also it is my first ceremonial piece.” Dreisbach’s 10th Anniversary Goblet was created for the 1972 exhibition Glass Now shown in three venues: the Museum, ; the TMA, Toledo, Ohio; and The Corning Museum of Glass (CMoG), Corning, New York. This goblet depicts the birth of contemporary American Studio glass. Prior to Dreisbach’s introduc- tion to wheel , it was engraved with a flex shaft grinder and diamond stylus. During the 30-year anniversary of the birth of American Studio Glass, which be- gan in 1962 during the TMA workshops with Littleton and Labino, CMoG awarded Dreisbach its eighth Rakow Commission to make a commemorative pokal. Develop- ing a new color, which he titled “Royal Purple,” Dreisbach produced a large blown and engraved piece that has text and drawings on one side representing the nascent glassblowing equipment and the early artists working in glass. The reverse side com- memorates Dreisbach’s own 30 years in glassmaking, with drawings of the various styles of his work. A -engraved map of the United States is covered with more than 100 dots showing the locations of his lectures and workshops, up through 1993, with images of the two vehicles in which he crisscrossed the country.

Fritz Dreisbach, Flamingo Line Dance, tallest goblet 15", 1991.

Fritz Dreisbach, Commemorative Pokal celebrating the 30th Anniversary of the 1962 Toledo Glass Workshops and Fritz Dreisbach’s 30 years of working with glass, 8th Rakow Commission, overall H: 54.8 cm, Rim Diam. 16.2 cm, 1993. Photo courtesy of The Corning Museum of Glass.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 9 To make this elaborately engraved pokal, Dreisbach wanted to Dreisbach had taught himself so well that his hands would not learn classic wheel engraving. He took a class with Jiří Harcuba at allow for fluidity unless he made the work so large that his skill Pilchuck and began engraving on glass using and other tools. level was again challenged. “Starting in 1979, working with glass Until this time, he was chiefly blowing glass, only using cold glass that weighed between eight and 25 pounds, the molten material processes to remove punty marks and make small repairs. “Carving took over. It was like going back in time.” He titled his new series and engraving, used as a decorative process, was a new and exciting Mongo to connote the large size and powerful liquid mass emulated development in my work. in his signature hot glass objects. “When I delivered my Pokal to CMoG in 1993, there was a hallway surrounding the central Rakow Library that had 10 plinths, featuring 10 glass masterpieces from ancient through modern times. My 30th Anniversary Pokal was installed in the last plinth, and for a year I represented contemporary glass. It was really cool, and my mother was very impressed. It was also an important piece in my personal history, because it led me into wheel engraving and carving.”

Mongos As Dreisbach honed his glassblowing skills in the ’60s and ’70s, his work naturally became more controlled and symmetrical. He used slide shows presented to various audiences around the country as a vehicle for studying the progression and development of his work. “In the ’60s my glass was very organic, loose, and almost dripping. It was the epitome of what I molten glass objects should exhibit. That fluid motion demonstrates the unique physi- cal property of molten glass—the temperature-dependent change of viscosity. But by the mid 1970s my glass began to look as if it could have been blown in a mold.” Though Dreisbach had developed the skills to produce sym- metrically balanced objects, he did not want his glass to lack effer- vescence and fluidity. “While showing my slides in the mid-1970s, I realized that back in the ’60s I did not have much control, so the material guided me. As I gained control, I overrode the material’s natural qualities and imposed rigid guidelines on it. It’s like putting a fence around an animal that should be running free. I needed to take the fence down and free the glass.”

Fritz Dreisbach, Ruby Wet Foot Mongo with Kissing Serpents and Lily Pad, blown glass with multihue filigree inclusions and applied hot optic bits, 19‑1/4" x 19" x 15‑1/2", 1990. Smithsonian American Art Museum. Gift of the James Renwick Alliance and museum purchase made possible by the Smithsonian Institution Collections Acquisi‑ tion Program. © 1990, Fritz Dreisbach.

Fritz Dreisbach, Sensuous Pink Avian Napped Flat Form, 7" high, 2008.

10 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com At Ed Hoy’s, we work with your business, not against it.

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www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 11 Goblets and Tricks Since the earliest days of his career, Dreisbach has made goblets glass art society as a demonstration of the delicate fluidity of molten glass. Early goblets were thicker and stiffer than his later more delicate and Become a memBer elegant goblets. The Glass Art Society is an international non-profit organization It was many years before Dreisbach made work he considered founded in 1971. We strive to stimulate communication among artists, close to the quality of historic Italian work he had researched in educators, students, collectors, gallery and museum personnel, art museums and books. His Flamingo goblets of 1991 were made the critics, manufacturers, and all others interested in and involved with the production, technology, and aesthetics of glass. week of his 50th birthday with and Janusz Pozniak. “I finally realized a dream that I had since 1965, which was to make GAS offers many great member benefits including four online issues of GASnews per year, access to the Member Directory, free classified goblets with the delicate beauty of Venetian pieces, but utilizing my listings, domestic benefits and much more. personal imagery.” As a teacher in Toledo from 1967 to 1970, Dreisbach would study join us in san jose, ca pieces in the collection, then go out to the studio and try to make June 5-7, 2015 them to demonstrate to himself and his students how they might Interface: Glass, Art, and Technology have been made. While studying a goblet in the TMA’s collection, Dreisbach noticed a hole in the side of the lower part of the hol- low stem. It was not broken, but was created hot and fire-polished smooth. To discover why anybody would do that, Dreisbach began researching and recreating historical examples of trick/joke glasses San Jose skyline, courtesy of Team San Jose dating back to the 17th century. Originating mostly in northern Europe, trick glasses were pos- The 44th annual GAS conference will feature prominent and emerging sibly made for amusement at royal parties by gurgling, dribbling on, artists from around the world in demos, lectures, and panels. or squirting the guests. “I didn’t have a clue that the old glassblowers had as much fun making glass as I do. I thought I invented that!” Dreisbach is currently writing a monograph documenting the history and function of many trick glasses. 6512 - 23rd Avenue NW, Suite 329, Seattle, Washington 98117 Humor and fun are qualities not often associated with typi- 206.382.1305 www.glassart.org [email protected] cal blown glass objects, but for 45 years Dreisbach has created some work with whimsical or playful themes. “I do make serious sculpture, but I probably remember my funny work more than I do anything else.” Pieces like his alligators, hamburger-helicopter, lobsters, 16-wheeled truck, and The Farm are classic Dreisbach. They speak to the joy of creating with hot glass.

Fritz Dreisbach, Toledo Trick, Pinkel Pokal GAS, 12" high, 2012.

12 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Wheel Engraved and Cameo Cut Glass Learning to engrave the 30th Anniversary Pokal inspired Dreisbach to create a new series of personal work. Starting in the mid-1990s, he formulated exotic colors and melted the batches to create his own blown blanks on which to carve and engrave. While the glass is still hot, he adds bits of glass to the original bubble to vary thickness. Then later he carves sharp, nongeometrical patterns with sharp edges into the glass surface to amplify those areas of the original blanks. The cuts, which completely cover the surface, emphasize the thick and thin areas of the original blanks. He is also experimenting with surface treatments that balance smooth- ness and roughness. “My goal is to create a much more fluid and organic looking cut glass than the geometric, patterned glass our grandmothers collected.” Though he knew cameo cut glass existed from ancient civiliza- tions through today, Dreisbach’s interest in the technique grew after he had been cutting and carving glass for many years. “I’m excited about the cameo process, as it allows me to have a variety of colors instead of just one. My background as a painter encourages me to utilize color. I’m savvy with combining and contrasting colors, and the color layers of cameos allow me to do that in glass.” The Maurine Littleton Gallery exhibited Dreisbach’s wheel-cut work at SOFA in 2012. “I wanted to expand upon what I could do with hot glass, emphasizing the sparkle from sharp edges and angles with the added enhancement of color manipulation. What I am after is glass through which light moves easily, appearing never to stop.” Like light through Dreisbach’s glass, his 50-year career in glass shines forth.

Look for Subscriber Benefits coming to Subscribers Only via HYG glass art ad 3.625x4.875 091814 FINAL.pdf 1 9/18/14 1:39 PM links in upcoming e-mails from Glass Art. This Bonus Content will feature more of Fritz Dreisbach’s 50 years as a glass artist.

Fritz Dreisbach, Fritz’s Favorite Parking Lot with Yellow Pickup and 2 Tucson Campers, 13‑1/2" long, 2011–12.

Fritz Dreisbach P.O. Box 778 Freeland, Washington 98249 (520) 305‑6190 [email protected] www.fritzdreisbach.com

© Copyright 2014 by Glass Art. All rights reserved.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 13 Independent Artist Adam Holtzinger The Art of Teamwork

by Shawn Waggoner

orking as a gaffer for other artists and studios requires a spe- After receiving a BFA in glass from the Cleveland Institute of cific personality. After all, in this role the maker’s ego takes Art, Holtzinger moved to Brooklyn, New York, to pursue a career Wa back seat, allowing the designer’s ideas and aesthetic to shine in glassblowing. Once in New York City (NYC), he began design- through. The process requires communication, troubleshooting, ing and fabricating work for designers and artists as well as other and under the best circumstances inspires a deep camaraderie and glassmakers. Since 2003, Holtzinger has taught, lectured, and dem- respect among team members. Through this unique relationship, onstrated glassblowing nationally and internationally at Pilchuck Adam Holtzinger’s technical skills as a glassblower have flourished. Glass School, Stanwood, Washington; Penland School of , “Making the work of other artists and designers has provided me Asheville, North Carolina; Pittsburgh Glass Center, Pittsburgh, with the best on-the-job training available. I love the process and Pennsylvania; Corning Museum of Glass, Corning, New York; Ur- teamwork involved.” banGlass, Brooklyn, New York; NOCA, Cambridge, Massachusetts; 141 Penn Studios, El Segundo, California; Osaka Art University, Osaka, Japan; and Tama Glass School, Tokyo, Japan. Holtzinger currently works as head gaffer at Niche Modern Design, New York, a custom lighting company. Husband-and-wife team Jeremy Pyles and Mary Welch create some of America’s funkiest new lighting designs. Frustrated with lighting options for their Manhattan home furnishings shop, they created a handblown pendant light in 2003. Two years later, they debuted a line of 10 lights in shapes from flattened spheres to bell jars at the International Contemporary Furniture Fair, and their Stamen Modern Pendant Light became the store’s most coveted item. Now offering more than 30 objects including pendant lights, and plus that includes candle votives, carafes, and pitchers, Niche employs 15 people in its hot shop in a large-scale operation. When he’s not heading Niche’s hot shop, Holtzinger creates per- sonal work that implements Italian-style glassmaking and focuses on the relationship between surface texture and depth. The use of repeated graphic designs and patterns carved on blown vessels melds traditional form with his unique contemporary design.

Transitioning to Glass At the Cleveland Institute of Art, Holtzinger received a classic art school including painting, drawing, sculpture, figura- tive work, and color theory. In this five-year program, students were not permitted to declare a major until after their second year. In 2000, Holtzinger was a photography major and was employed as a campus tour guide through a work study program. During his first tour, he ended up in the glass department where students were hard at work blowing glass. He was so taken with the process that his tour group of students moved on, and he stayed at the studio for the next four hours, mesmerized by the material. “Glass spoke to me like nothing else. You can’t put your hands on it, but you are able to manipulate it. It’s a great joke.”

Adam Holtzinger, Black + White Kimono (detail), 22", 2010.

14 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com He started by making functional objects and researching his- torical pieces from the 16th, 17th, and 18th centuries in Italy. “The biggest challenge as a young student is waiting for your hands to catch up with your brain. It takes a lifetime to learn this craft and how to manipulate the material.” Early on, Holtzinger recognized the teamwork necessary to work hot glass, and this aspect of the process made glassblowing even more appealing. “In photography, I was interested in the technical aspects of it, but there was something missing. I didn’t realize until I started making glass that I missed the team, the camaraderie, and the problem solving. I really enjoy the close relationship you have with your assistants or partners.”

If You Can Make it There Upon graduation from the Cleveland Institute of Art, Holtzinger moved to Brooklyn, New York, during the 2003 summer blackouts. He didn’t expect to live in the city for more than a year, but it was such a good fit that he ended up staying. His goal was to meet other professional artists and designers with and for whom he could blow glass. For a time, his personal work took a back seat to making contacts and honing his skills in the hot shop.

Adam Holtzinger, Black Kimono Pair, tallest piece 26", 2012.

Photos of Colored Glasswork Courtesy of Niche Modern Design

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 15 It didn’t take long before Holtzinger was making work for artists such as Michiko Sakano, who had a multitude of clients including architects, designers, and other glassmakers who would commission her to make glass objects. Japanese born, Sakano moved to New York in 1989 at the age of 19. Her upbringing and influence of tra- ditional Japanese aesthetics—incorporating minimalism, discipline of line, original design, and the rigor of handcraft—shaped Sakano’s perspective early on and continues to guide her approach to glass today. Seeing her commissioned work as an extension of her instal- lation work, Sakano has recently created lighting and chandeliers for Isadore Design Build Inc., Brooklyn, New York; been represented at Clio Center for the Arts, Clio, Michigan, and completed fabrica- tion for Jorge Pardo’s glasswork. She is the founder and co-owner of One Sixty Glass in NYC, established in 2000. Sakano is just one of the artists Holtzinger met in New York and for whom he has blown glass. “I cut my teeth here within the first six months to a year. Working with all these clients afforded me a ton of information and on-the-job training—things you will never learn in an academic setting such as production, team management, and certain skill sets for making certain objects. In my own work, I was able to then build on this larger skill set to make more of the objects I’d been dreaming of making a few years prior but didn’t have the skills.”

Sensual Forms without the Frills Holtzinger’s Kimono series was inspired by a 2006 trip to Japan, where he visited a few craftsman studios, watched them work, and learned how they create objects. One was a kimono maker with a long family history of making some of the finest kimonos in Japan. “I was fascinated by the patterning and imagery of the kimonos. Most are very colorful and ornate in design. However, the male kimono is subtle—rich in pattern but monochromatic. The pattern- ing on the male kimono is on the inside. It’s like revealing a secret when you see these pieces of clothing. My series of glass objects is monochromatic with intricate surface patterns on the outside. These pieces don’t immediately reveal that they are lidded vessels. You have to interact with them to discover their secret.” His personal work is created at a variety of local studios includ- ing UrbanGlass, Brooklyn Glass, Michael Davis Stained Glass, and Pier Glass. Inspired by the simplicity of Scandinavian design, Holtzinger’s sculpture is defined by bulbous, sensual forms without many frills or much fanciness. The vessels are primarily monochro- matic with small “pops” of color to keep focus on form and surface texture. By sandblasting the work, the artist intentionally avoids glassiness and enhances graphic qualities. For his Kimono series, Illustrator was used to create and print designs on vinyl that were then applied to the glass as a sandblast resist. Using CGI software, Holtzinger creates simulated images of work he’d like to make as a way to previsualize ideas and settings for himself and potential clients. “I use this software as a camera to document my work whether it’s made or not. The “Renderings” section of my website is separate from the blown glass section, because those are all computer rendered images.”

Adam Holtzinger, Black + White Kimono, 22", 2010.

16 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Holtzinger and Corning’s GlassLab Project In 2000, Holtzinger visited the Corning Museum of Glass, Corning, New York, for the first time. Upon viewing the vast historical and contemporary collections of glass, he realized how important the museum is for promoting the history and continuing the advancement of the craft of glassmaking. “As the hotbed for glass on the East Coast, the Corning Museum of Glass excels at preserving history, sharing information, and developing long-lasting relationships with art and industry.” In 2012, when presented with the opportunity to educate and collaborate with Corn- ing’s GlassLab, Holtzinger jumped at the chance. GlassLab offers designers unprecedented access to molten glass. In public design performances or private sessions, designers and glassmakers collaborate, rapidly prototyping concepts and using the immediacy of hot glass as a catalyst for . The museum’s GlassLab project, offered in partnership with the Cooper-Hewitt National Design Museum, took place on Governors Island in NYC. As a guest glassmaker, Holtzinger blew glass for contemporary graphic designers who were part of the Graphic Design: Now in Production exhibition. In 2013, Holtzinger was invited back to work with Corning’s GlassLab, this time part- nering with the Musée des Arts Décoratifs in , France. “Over the course of six days, we worked with top French designers, blowing glass in the Tuileries Garden, executing their ideas. Working with GlassLab has been rejuvenating. I appreciate the opportunity to be able to experiment and push myself as a maker and problem solver, as well as push the boundaries of the material itself.”

Experience Is the Best Teacher Dealing with people, organizing teams, and being able to solve problems can only truly be learned by doing. Holtzinger believes that to be a skilled glassmaker one needs to blow glass every day. To dialogue with a team to make glass art requires a personality and ego that allows the team effort to shine at the expense of the individual. As he continues making work for clients and at Niche Modern Design, Holtzinger and girlfriend/business partner Susan Spiranovich are starting a lighting and tableware business of their own called Keep. The name references their commitment to keeping the tradition of handmade glass alive and relevant, as well as making objects that people would want to keep and pass on. The two met at the Cleveland Institute of Art in 1998. Relying upon their combined backgrounds and experience, Holtzinger and Spiranovich hope to tap into current market desires to provide successful lighting and other glass objects for consumers hungry for handcrafted and beautiful functional objects.

Adam Holtzinger [email protected] www.adamholtzinger.com

CMOG GlassLabs

GlassLab Governor’s Island www.cmog.org/glasslab/events/ glasslab-governors-island

GlassLab at Musée des Arts Décoratifs www.cmog.org/glasslab/events/paris

© Copyright 2014 by Glass Art. All rights reserved.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 17 Winning Glass Bullseye Emerge 2014 Winners

Emerge/Evolve National Tour Dates Bullseye Resource Center Bay Area, July 19 – October 11, 2014 Pittsburgh Glass Center, November 7, 2014 – January 18, 2015 Bellevue Arts Museum, Spring 2015

Silver Award Anna Mlasowsky Resonance 2013 fused glass frit, video, sound 48" x 90" x 68" (installed) Photo by Jerry Sayer

Gold Award Kathryn Wightman Posy 2013 sifted and sintered glass powder on kiln formed glass 16-3/4" x 13" x 1‑1/2" Photo by Jerry Sayer

by Michael Endo

ullseye Glass Co., Portland, Oregon, has named the winners of Emerge 2014, the company’s biennial juried competition Bfor emerging artists in kiln formed glass. The event attracted more Bronze Award than 320 entrants from a total of 32 countries and 35 universities. Gina Zetts The Apartment 2013 Jurors for the competition were Kathleen Moles, Emily Nachison, cast glass and paint, sandblasted, and James Yood. The awards were announced April 12, 2014, dur- cold assembled, and lampworked ing a ceremony at Bullseye Gallery in Portland. 11-7/8" x 12‑1/4" x 11‑1/2" Photo by Elizabeth Torgerson-Lamark

18 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Jewelry Award Marion Delarue Blue Agate Bracelet 2013 glass, glaze, , chamotte 3/8" x 4‑1/4" x 4‑1/4" Academic Award Photo by Marion Delarue Kate Clements Untitled (Wall) 2013 kiln fired glass frit 108" x 90" x 1/8" (installed) Photo by Sam Fritch

Newcomer Award James B. Thompson Lava Flow 2012 kiln formed glass 24" x 48‑3/4" x 1/4" (installed) Kilncaster Award Photo by Jerry Sayer Rei Chikaoka Release 2013 kiln cast glass, metal 9‑1/8" x 12" x 9‑3/4" Photo by Rei Chikaoka Before the awards were presented, Bullseye Gallery director Lani McGregor announced that the Bellevue Arts Museum (BAM) in Bellevue, Washington, would host the final stop of theEmerge 2014 exhibit’s national tour in the spring of 2015. “The opportunity to collaborate with a museum such as Bellevue sets this community and this method firmly into the art, craft, and design conversa- tion of the 21st century. Stay tuned. We’ve only just begun to emerge.” BAM will mount an amplified version of the exhibition, including all of the award-winning glass art plus additional work selected from among the finalists by BAM Director of Art, Craft & Design, Stefano Catalani. The museum will also host the companion Evolve exhibit of former Emerge finalists, which opened in May 2014 at Bullseye Gallery. The program includes a rich educational line- up of artist lectures, panel discussions, and workshops. An online gallery that includes all the artwork of the winners and finalists is available for viewing at bullseyeglass.com/emerge. Design Award Manuela Castro Martins Glass 1 2012 Visit www.bellevuearts.org for more information on BAM. fused glass 2‑3/8" x 16‑1/2" x 16‑1/2" © Copyright 2014 by Glass Art. Photo by Abilio Cardoso All rights reserved.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 19 GAS News

Featuring the latest from the Glass Art Society Glass Art Conference 2015 Honoring Paul Stankard and Mary B. White for a Lifetime of Creativity

by The Staff of the Glass Art Society

he Glass Art Society (GAS) is pleased to announce the selection of its 2015 award Twinners. The Lifetime Achievement Award, the society’s highest honor, acknowledges individuals who have made outstanding contributions to the development of the glass arts worldwide. This award will be presented to Paul J. Stankard. Mary White will be receiving the Honorary Lifetime Membership Award for her outstanding service to the Glass Art Society.

Capturing Botanical Themes in Glass Stankard is an internationally acclaimed Paul J. Stankard artist-in-glass and is considered a living master in the art of flameworking who is known for his small-scale botanical themes encapsulated in clear glass. His work is represented in over 60 museums around the world. He is also the author of two books, an autobiography titled No Green Berries or Leaves: The Creative Journey of an Artist in Glass and most recently, an educational resource titled Spark the Creative Flame: Making the Journey from Craft to Art. This renowned glass artist has received two honorary doctor- ate degrees and numerous awards. These include the Masters of the Medium from The James Renwick Alliance, The College of Fellows class of 2000, and Honorary Professor/Artist-in-Resident at Salem Community College in southern New Jersey. Jan Mirenda Smith, executive director of the Bergstrom- Mahler Museum of Glass recently described Stankard and his art. “Paul’s insatiable search and discoveries built the innova- tive platform to transcend a 19th-century decorative art, the paperweight, turning it into an intimate contemporary sculp- tural language of form imbued with meaning through realistic beauty and mystery. His work paralleled the search for form of the Studio Glass movement while remaining true to a personal aesthetic inspired by meditation upon nature’s beauty, fertility, and decay.”

20 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Nortel Limited Glassworking Burners, Torches and Glass Wet Cut Saws MINI MILON BENCH BURNER

UNITORCH Eric Markow (left) and Thom Norris (right) with their Paragon Pearl-56. Eric and Thom spent several years de- HAND TORCH veloping the woven glass technique shown above. Photo by Marni Harker. “We love the even, consistent heat of the Paragon Pearl-56” — Markow & Norris Eric Markow and Thom Norris are noted for creating woven glass kimonos, which have been called “impossibly beau- tiful.” The kimonos weigh an average of 125 pounds. Eric and Thom fire their glass in nine RED MAX Paragon kilns. “Now that we’ve done all BENCH BURNER our testing, and have actually cooked Surface Mix or Premix Topfire sculpture in the Pearl-56, it is our favorite kiln and we love the even, consistent heat,” they said recently. The Pearl-56 has elements in the top, sidewalls, and floor. The kiln uses ad- vanced power ratio technology to balance the heat between the top and bottom sec- tions in increments of 10%. The digital Pearl-56 has lockable cast- photography: dougbaldwinphoto.com ers, levelers, two peepholes in the front, two vent holes in the top, mercury relays, and a ceramic fiber lid. The Pearl-56 fir- Bench Burners ing chamber is 30” wide, 56” long, and 16 Autumn Sunset Kimono by Markow & Norris. The part- Major • Midrange Plus ½” deep (top to bottom). ners fire their glass in Paragon kilns. Photo by Javier Minor • Mega Minor • Midrange Agostinelli. If you are not yet ready for the massive Red Max • Rocket Constantly finding ways to Pearl-56, then choose the exact size make better kilns. Hand Torches Paragon kiln that you need. We offer a Multimix • Unitorch full range of glass kilns from the small Twinfuel • Ranger FireFly to the intermediate Fusion and 2011 South Town East Blvd., Mesquite, Texas 75149-1122 CS clamshells to the Ovation ovals. 800-876-4328 / 972-288-7557  416-438-3325 For more information on these excit- Toll Free Fax 888-222-6450 ing kilns, see your distributor, or call us www.paragonweb.com nortelmfg.com for a free catalog. [email protected]

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 21 Sharing Time and Talent White is a sculptor and arts educator. She is an adjunct instructor at St. Mary’s Col- lege, Ghost Ranch, and Chair of the Board of WEAD: Women Environmental Artists Directory. From 1985 to 2005, she was Head Boston Round-Trip of San Jose State University Glass Program October 11-18, 2015 and was Co-Head of Glass at the Crucible from 2002 to 2013. White also co-chaired the 1994 GAS conference and California Glass Exchange in 2002 and 2012. New England The artist was a Fulbright Scholar at the National College of Art and Design in Canada Dublin from 2009 to 2010. One year later, she completed a collaborative Flood Level Fall Foliage Marker in Boulder, Colorado. White has lead many workshops, including California Coastal Cruise College of the Arts, Cal Poly, Cal State Ful- aboard Royal Caribbean lerton, the Corning Glass Museum School, Unique opportunity and Pilchuck Glass School. She has a BFA in to fuel your creativity Ceramics and an MFA in Glass from CCA, and learn from accomplished Oakland, California. instructors while enjoying Pamela Koss, GAS Executive Director, picturesque vistas, dazzling recently expressed her deep appreciation for the many contributions that White has made colors, and historic ports. to the society’s success. “Mary White has Mary B. White been and continues to be a huge gift to the Glass Art Society. She was a past co-chair of the 1994 GAS Conference and wrote a manual about it, served on the GAS Board, volunteers at most every conferences, do- nates to the auction, and always supports World-class destination GAS. The Glass Art Society is lucky to have at sea offering luxurious her in our corner.” amenities including gourmet dining, Looking Forward to the Broadway-inspired 2015 Conference entertainment, poolside GAS will present the awards to Stankard Glass Art Conference Cruise

movie theater, mini-golf, and White at the 44th annual conference ice-skating rink, rock in San Jose, California, on June 5, 2015. climbing wall, full-service Stankard will also present his lecture, A Backward Glance, Vitality Spa and solarium. at the conference open- ing ceremonies and will give a flamework- A deposit of $500 will hold your ing demonstration as part of the conference cabin at a special group rate. program. Deposit is fully refundable

6th Annual Visit www.glassart.org for more infor- until July 10, 2015. mation on GAS and its upcoming events. This Conference Cruise package Visit www.glassart.org/Lifetime_Awards.html can only be booked through to view the complete list of past GAS award KBW Foundation winners. and Top Travel. CALL (760) 603-8646 for more information or to book your cabin. www.KBWFoundation.org Facebook.com/KBWFoundation © Copyright 2014 by Glass Art. All rights reserved.

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www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 23 Working Greener UrbanGlass All That Was Old Made New Again

by Colleen Bryan

rbanGlass studio has reopened its fully renovated facility after more than two years of scurrying about in interim space Uwhile Booklyn and New York, New York, undertook a $30 mil- lion renovation of its permanent location. The 17,000-square-foot studio features a professional hot shop and educational glassblow- ing studio, with separate specialized studios for making neon and 95 percent when all of the glory holes are off and only the flameworking, cold working, molds, kilns, and flat glass. Urban- three furnaces are running—a typical daily scenario in closed Glass encompasses the third floor studios. Administrative offices hours. Savings during operating hours are significant, but they and Glass: The UrbanGlass Quarterly magazine fill other third floor vary depending on the number of individual units being fired space. Street-level presence includes retail space and a gallery for and the output range in which they are operating. This varies glass exhibitions. An organization called Bric is a cotenant in the minute-to-minute as doors are opened and closed and as units building, where it hosts performing arts and gallery space and five are turned on and off. local broadcast TV stations. The building is owned by New York • All furnaces and glory holes have nozzle-mix burners that al- City (NYC). low for the use of preheated combustion air and feature the UrbanGlass is a nonprofit organization that caters to everyone lowest nitrous oxide (NOx) emissions in their burner class. from the absolute beginner seeking a two-hour, hands-on glass • All three furnaces incorporate recuperators—heat exchangers experience through mid- and late-career professional artists. With that make use of the waste heat in the exhaust to preheat the rents in NYC at all-time highs, its open studio model enables more combustion air up to +/- 600°F. This reduces fuel consump- than 200 area artists to pursue their craft in the city while providing tion by up to 31 percent when the furnace is at charging tem- full-spectrum access to glass students from local universities and perature. glass enthusiasts. • While there are several glory holes large enough to accommo- A public access open studio model that serves hundreds of artists date very large glasswork, five of the 10 are quite small (three and hobbyists is inherently more energy efficient than individual of them with 9-inch openings and two with 12-inch openings). artist studios would be. Studio users share fuel and utilities, build- This enables artists—renters and students—to use less energy ing material and space costs, tools and equipment, and assistants. when making smaller work. UrbanGlass suggests that its public access approach to glassworking • All three furnaces incorporate automatic flue dampers that can make a meaningful difference in terms of sustainability for the open and close the exhaust flues to maintain stable chamber glass art industry and the environment, particularly in a densely pressure inside the furnaces. This reduces cold air infiltration, populated urban area. which, in turn, reduces NOx formation and fuel consumption and increases glass quality. Designing a Greener Hot Shop • All three garages have temperature control systems, which as- In addition to the efficiencies of community studios, UrbanGlass sures that no more fuel is used than is necessary to maintain a took some steps in the design of the renovated studio to promote stable temperature with or without doors open. greater energy efficiency. Eddie Bernard, the green studio guru at • No ovens use mercury displacement relays, which have mer- Wet Dog Glass who designed the UrbanGlass hot shop, articulates cury and constitute a disposal issue at the end of their life. the steps that his company took with UrbanGlass equipment to Instead, they all use silicon controlled rectifiers (SCRs) that reduce the energy consumption compared to their previous studio have no moving parts, last longer, and keep the heating ele- setup. ments’ internal temperatures several hundred degrees cooler, • All gas-fired furnaces and glory holes have temperature thereby increasing their lifespan exponentially. control and variable speed blowers. As higher or lower tem- • All electric oven doors are adjustable and fitted with gasket peratures are required, individual blowers speed up or slow seals and adjustable cinch-type door latches to minimize heat down to provide appropriate air volume and pressure to each loss at door seams. piece of equipment. When one unit is not in use, its dedicated • All furnaces have ultra-adjustable doors to enable operators to blower can be turned off. Compared to the previous studio’s create the best door seal that works for their programming and universal fixed speed blower, electrical savings can be up to cuts down on glass spillage around the door and sill.

24 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com • Both pipe warmer/garage combination units are set up so that Brian Kibler, Director of Operations for UrbanGlass, amplifies the pipe warmer exhaust heat rises directly into the garage. the energy savings he expects to derive beyond those related to the This is a situation known as a “thermal cascade,” whereby hot shop design. Because all of the equipment is new and better waste heat from a hotter process is used in a second process built, energy costs go down on the front end. Adoption of an ongo- with lower temperature requirements. ing formal maintenance plan is expected to help check those costs • The pipe warmers and garages do not use forced air blowers, over time. “In a public access facility such as ours where annealers so their electrical consumption is restricted to that of the tem- are on every day for seven to nine hours, elements wear out because perature control and safety components. resistance is higher. As they age, they require progressively more energy.” Formerly, replacement of elements would get backed up “Trickle-Down” Savings behind other demands in the nonprofit’s budget. “Now we have a Each of these energy reducing features offers “trickle-down” maintenance plan with money regularly set aside for gradual re- savings. One simple example is the concept that a reduced amount placement of elements every year or two. We expect that improved of heat emitted into the studio requires a reduced level of makeup maintenance will decrease energy costs.” and exhaust air for the space. In the winter, as air is exhausted, In the rebuild, motion detectors were installed so that lights makeup air must be tempered, so reducing it not only saves energy come on with movement in the room rather than staying continu- to turn fan blades but energy to heat the air being blown into, then ously lit. HVAC zones were also set up so that operators could heat almost immediately out of, the space. and cool individual zones separately rather than having to control the whole floor as a unit. Both of these initiatives conserve energy.

Bowls by UrbanGlass artist Andrew Hughes.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 25 Compromises UrbanGlass recognizes and is appreciative of all the money that the city has put into the remodeled space. At the same time, they acknowledge that some opportunities for energy efficiency were lost to the city’s renovation budget process or limited by the amount of money that the studio itself was able to bring to the table. These types of lost opportunities are a reality for any studio seeking to establish a healthy return on investment by increasing energy efficiency. UrbanGlass notes the chief trade-offs that have been encountered during the process. “Our shop’s waste heat alone would be enough to heat the entire building, but it would have required an ongoing annual expense to put additional employees on standby, such as a steam engineer at an annual cost of $40,000 to $50,000. The additional cost would have about equaled anticipated savings, so the notion was not deemed to be economically feasible.” Also due to project budget constraints, Flame Shop the glory holes do not incorporate recuperators. They were arranged, however, so as to enable that upgrade in the future as finances allow. In the old space, UrbanGlass staff tracked all of its electric and gas usage pretty closely, averaging $8,000 to $10,000 per month. Individual meters hooked up to each piece of equipment were im- portant to the daily running and understanding of the studio. When gas usage on an individual piece of equipment started to creep up, it served as a red flag to alert the staff that maintenance was needed. This assisted the operations team in making sure the studio was running efficiently. Individual metering was lost in budget dissection. One gas meter comes into the building, and the bill is split among all the tenants in the building. Reopened for less than a year, UrbanGlass is still work- ing with the other tenants on how to meter out the studio’s share of the aggregate energy costs. “We are looking at our new equipment and relearning our systems,” Kibler says. While they expect energy costs to be 30 to 40 percent lower based on Wet Dog specs and test- Hot Shop ing, they are still working to put the metering and systems in place that would allow them to validate their specific on-site experience.

Studio Tour As the studio manager, Slate Grove oversees all of the studio that is not the case at UrbanGlass.” Large windows open from the facilities and scheduling. On this late spring day, he takes Glass Art hallway into the cold shop on one side, and on the other, windows through the newly renovated studio. face outward into the flat shop. Five 4-by-8-foot tables provide space Grove was an artist and teacher during UrbanGlass’ earlier in- for painting and cutting stained glass, as well as for soldering. The carnation, deepening his appreciation of the improvements wrought studio is big enough to house sandblasters, lathes, flat wheels, tile by the renovation. The biggest change from the old UrbanGlass, saws, and belt sanders. “We have facilities to accommodate just he tells us, is the spacious, airy feel of the place. Tall ceilings and about anything you could want to do with glass.” big studios feature outside-facing walls with windows and sunlight. The kiln studio occupies more central space. Eleven new Paragon These combine with the new equipment to make everything feel kilns ranging in size from 16 to 64 inches accommodate fusing, cast- fresh and full of possibility. ing, and kiln forming. A double door separates the kiln room from Visitors are drawn to the building’s refurbished exterior by sig- the dust of the mold studio. There, artists form molds from wax, nage touting UrbanGlass and windows that reveal the retail area. plaster, and silica. Classes and professional artists make clay or wax They exit the elevator on the third floor, where a receptionist controls positives, pour plaster silica molds, and steam the wax out. In the access to the rambling facility through a sign-in book. mold shop, two portable air filtration units constantly clean the air The first studio is devoted to flameworking and neon. Fifteen for easier breathing. “The old shop had little ventilation anywhere. different stainless steel work tables are outfitted to accommodate Now we have ample ventilation everywhere.” either neon torches or torches. Ample shelving and The tour exits the mold shop back into the central hallway and lockers line the walls of all the studios and rent for an annual fee, heads toward a hot shop area dedicated to education. The hot shop easing the challenge of transportation and storage. is designed within a large L shape, with the education area taking up The tour exits the flameworking studio via a short hallway to the small leg of the L. Here, the space is outfitted with a 400-pound the well-lit and centrally located cold shop. Having run a few other furnace, four glory hole work stations, and small annealers. Round- studios in the past, Grove is particularly satisfied with what is on ing the corner to the long side of the L, the professional side of the offer here. “The cold shop is usually neglected for good light, but hot shop is served by two 1,000-pound furnaces. Six professional

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www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 27 glory holes range from nine to 30 inches in diameter, and the 13 The Challenges of Shakeout annealers vary in size. The largest is 9 by 5 feet and 29 inches deep. One could be forgiven for a fleeting, enviable thought that life “It was important for us to be able to deal with the wide spectrum of in an all new purpose-built facility with all new equipment must projects that walk into our studio, and the size variation helps us to be a studio manager’s heaven. While conceding the general point, do that.” All of the hot shop equipment was made by Wet Dog Glass. Grove observes that his heavenly circumstance is also the seed Throughout the studios, students and enthusiasts schedule and of daunting daily challenges. Foremost, the scale of operations in work alongside professional artists, but the separation into hot shop 17,000 square feet with six totally separate studios open six days a areas for professionals and students is a welcome enhancement. week from 10 a.m. to 9 p.m. is formidable. “Some students used to feel they were in the way of the professional Secondly, both the building and equipment have undergone a glassblowers,” Grove recalls. The current configuration enhances the concurrent shakeout period. As anyone who has ever installed a sense of belonging, allowing students to see the professionals at work new kiln, computer, or glory hole knows, beyond the initial setup and observe their process without feeling underfoot. It also allows task, each brand new set of equipment requires a period of tuning, concurrent scheduling of professional work and educational classes. adjusting, checking, and readjusting. That challenge was especially tough in an entirely new facility and with all the new equipment A Typical Day in the Studio at UrbanGlass. On a typical day, UrbanGlass hosts classes from New York Uni- The studio manager is grateful for his proficient staff of four versity or the Pratt Institute. Morning classes run from 9:30 a.m. to technicians who help with the daily physical operation of the stu- 1:00 p.m. Concurrently, several professional artists are working at dio. “They are essential to my being able to leave work and rest.” rented glory holes, and a large class of students is engaged in the In addition, UrbanGlass is staffed by the receptionist, an executive flameworking studio. Grove says that all of the studios are fully director and finance director, an education director, a development used, and his studio’s utilization patterns would not point to any director, and a director of operations. An education technician cir- trending favorite genres. culates during open studio hours. Grove does mark changes in the glass art collector base and notes Grove returned to an UrbanGlass that had changed as much as he the resulting ripple through the kind of glass that artists produce. has during his six years away. “The old space was grittier, dirtier, and “Our collector base is changing, and with it, demand. Artists are looser. I walked back into a new state-of-the-art studio that serves moving away from making vases, bowls, and cups to selling and more people than any other in the country. A certain tightening up moving toward working with designers and collaborating with other has to happen to keep the facility operating as it should.” He seeks artists on pieces that are based more on concept or design. I see a the sweet spot between “being tight enough to keep things shaped up huge influx of glass artists working for designers in New York, many and working well, while loose enough to preserve artistic freedom.” more than six years ago.” As walls between fine arts and glass craft The Agnes Varis Art Center on the first floor houses the gallery are being broken down, UrbanGlass artists are getting calls from that features exhibitions, public programs, and the UrbanGlassǀware museums to fabricate for particular exhibitions. retail store. These venues “explore the many ways that glass is used Much of the focus is on functional work, specifically profes- in the creative process.” A separate staff handles the gallery, retail, sional artists producing lighting fixtures. A number of well-known and production of Glass Quarterly magazine. While there is some designers make glass at the studio or commission artists in the overlap between house-made glass and exhibitions by artists who studio to produce their designs. “Lots of our artists have solidified work from UrbanGlass studios, such is not inherent in the design. contracts with designers and rent space at UrbanGlass to fabricate A jurying process solicits images and price points submitted to the goods. We also have an atelier portion of our operation where gallery staff. All three of the gallery shows held so far have been museums and designers looking for glass to be made contact our independently curated and have included independent studio artists atelier. UrbanGlass facilitates the relationship between them and from around the country. the artists in our community.” The blowing studio gets the heaviest use. “We have really great pricing everywhere in the studio. Our prices are very low, even cheaper than in the Midwest.” A daily rate of $28 gains one entry to the cold shop and flameworking/neon shop, plus the mold and flat shop, including access to gas and oxygen. Kiln rooms and anneal- ers are rented by the day and glory holes by the hour for similarly favorable rates. UrbanGlass offers experimental time on Tuesday and Thursday afternoons at special incentive rates to encourage innovation in its studios. Incentive rates apply to the educational glory holes that remain lit between scheduled classes. “This time is used only for experimental and new prototypes by application. This time is not available for commission work.” People provide their own expendable materials at UrbanGlass, including grit, saw blades, or other consumables in the cold shop. The studio provides and maintains all of the equipment. Some groups of students have chosen to jointly purchase glass and supplies, but that is not the norm. Cold Shop

28 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com ~built by artisans for artisans ~

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Katherine Gray, Tree Installation. Managing the People Aspects A sound understanding of combustion and electricity is key to understanding what needs doing and keeping the range of studios up and running smoothly. Equally impor- tant, however, is being able to manage the interpersonal aspects of a setting that invites so many different people into the studio. Grove says an even temperament and the ability to understand personalities are critical skills in running a facility that enables as many kinds of art as UrbanGlass. A lot of different personalities come through the door. One ticklish task is keeping a level playing field for all who come there. “Many of the Make matching stands for your projects using people I see daily on the job are my closest friends and many are strangers. A lot of faces Master Artisan REVERSIBLE MOLDS are new to me because they started coming to UrbanGlass while I was gone, but they’ve been coming for a while and feel some ownership in the place. Others are here for the first time. An important part of my job is giving all these people a good understanding of what the studio expects of them as well as what they can expect of the studio.” Rules are posted and specific. “We are as flexible as we can be, but consistent rules are essential with the large number of different kinds of people who use our studios.” Looking ahead at the external challenges to the newly revamped studio, Grove points to concerns about the cost of electricity and gas consumption. “Our annealers, glory holes, and furnaces won’t run without the fuel, so keeping consumption as low as possible is key. All-new, incredibly efficient equipment helps us do that.” He is confident that UrbanGlass is in a unique position for its heavily populated and artist intensive region. Communal studios are big fuel savers over individual or small group models. He knows of only three or four other local studios that cater to public rentals, and none at the scale that UrbanGlass affords. Grove sees communal shops as the future of glassmaking as the cost of fossil fuels increases.

Master Artisan products are available Look for the Subscriber Benefits coming to Subscribers Only via links in upcoming from many wholesale distributors and e-mails from Glass Art. This Bonus Content will include a look at how Slate Grove will be exibited by Victorian Art Glass came to be studio manager for UrbanGlass. at GlassCraft & Bead Expo Las Vegas. Visit our website to view examples Slate Grove, Studio Manager of different projects you can create UrbanGlass with Master Artisan tools and molds. 647 Fulton Street Master Artisan Products Brooklyn, New York 11217 566 David Street. (718) 625-3685, ext. 201 Victoria BC V8T 2C8 [email protected] Tel: 250-382-9554 Fax: 250-382-9552 www.urbanglass.org www.Facebook.com/UrbanGlass © Copyright 2014 by Glass Art. www.masterartisanproducts.com All rights reserved.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 29 Skills and Techniques Pâte de Verre Eggshell Thin Technique Design, Fabrication, and Text by Shin-ichi and Kimiake Higuchi

n the 19th century, the era, very delicate glass art Eggshell-Thin Works at the Kitazawa Museum of Art Ipieces with walls as thin as eggshell were created by a technique Around 1990 at the Kitazawa Museum of Art, which is well developed by French artists François-Emile Décorchement and known for its collection of Art Nouveau glass, I saw the Dammouse Albert-Louis Dammouse. It was said that the wealthy people during vessel, Iris, for the first time. I was attracted by its beauty and thin- that time treasured them as if the pieces were jewelry. There are ness, and looked up information about this type of piece. However, not many pieces left today because of their delicacy. This technique I couldn’t find any articles that described the process of creating was a family secret and was not shown to the public, so we don’t eggshell-thin vessels. I then began the challenge to discover and know how these works were made. There are still many unknown reproduce another eggshell-thin work in pâte de verre. parts regarding the techniques that were used in this delicate work One day, Director Aruo Okano of the Kitazawa Museum of Art that are left to elucidate in future study. allowed me to observe many original works in their collection and hold them in my hands. It was a great opportunity to look over and touch the original works of Dammouse and Décorchement. It is difficult to obtain this level of information about a specific work by looking at it through a display case. From this experience, I was able to garner some important information needed to reproduce this technique.

François-Emile Décorchement, Marine Star Vase, 24.3 cm x 10.5 cm.

Albert-Louis Dammouse, Albert-Louis Dammouse, Iris, 10 cm x 9cm. Anemone Vessel, 12 cm x 11.3 cm.

30 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Verifying Pieces of the Art Nouveau Period A Study of the Firing Process When I observed the pieces from the Art Nouveau era, I noticed The firing process is the most important part of the pâte de verre that having very thin walls with a matte surface outside and a shiny method of reproduction. In general, when glass melts and becomes surface inside were common characteristics. Also, most pieces have liquid, the molten glass flows downward, higher to lower. When a very fine lip wrap with a half round rim. Therefore, I concluded firing a vessel form using an open-faced mold, the main problem that during firing, the outside of the vessel had touched the refrac- to be solved is how to prevent the molten glass from flowing down. tory mold, and the inside shine came from a fire polish, suggesting I believed that I could manage this problem by melting the glass that core molds were not used. quickly, then cooling it down just before the molten glass starts to In general, there are two ways to make vessels using the pâte de flow down. verre technique. The first way is to melt glass in the molds made It is possible to improve a kiln’s capability to make the tempera- up of an outside mold and a core mold. The second way is to pack ture go up suddenly, then down abruptly. This is not a solution in glass between two molds, pressing the molten glass down to cast it. practice, however, because molds are not strong enough to resist In both ways, the marks of the mold surface are left on the inside as abrupt temperature changes and will often break. Looking at the well as on the outside of a vessel where the glass has touched the technology of kilns back in the 19th century, I believe they most molds. When I repeated the process, I discovered through trial and likely used a glory hole. error that the half round rim of the original work is not only a design In order to fuse glass bees for the surface of my fused element, but it also prevents the flow of the molten glass downward. work, Beehive Pattern, I turned on two kilns at the same time. I fused As I create pâte de verre vessels, I engrave grooves with a chisel the mosaic glass in one kiln. When the temperature in the kiln was at the lip of the vessel on the formed refractory mold. Adding the starting to go down, I picked up the glass bees, which were preheated grooves is effective for preventing molten glass from flowing down. in the other kiln. Then I put them on the Beehive Pattern mosaic Also, the lip becomes thick after firing because of the grooves. glass in the kiln to fuse them together. Because of this experience, I A thicker lip prevents cracking during the cooling stage of the thought that I could adopt this process to fire eggshell-thin vessels. firing program.

Shin-ichi Higuchi, Lurer, 8 cm x 8 cm x 5.5 cm.

Shin-ichi Higuchi, Rose Mallow, Shin-ichi Higuchi, Hydrangea, 8.5 cm x 8.5 cm x 9 cm. 12 cm x 15 cm x 15 cm.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 31 The Firing Process Experimental Firing in a Glory Hole Melt the glass by making the temperature go up abruptly from a I succeeded in reproducing the technique of eggshell-thin glass little bit before the softening point to the melting point. Then cool by using two kilns, one for preheating and (low tem- down the glass by making the temperature go down sharply to the perature), and one for firing up (high temperature). As I mentioned annealing point before the glass starts melting down, and you can earlier, if we look back at the technology of kilns in the 19th century, prevent the glass from flowing down. I believe they used a glory hole. With William Gudenrath’s sugges- Start two kilns—one for preheating and annealing and the other tion and help, we experimented with this process using a glory hole for firing. Move the preheated mold to the kiln for firing. The firing at The Studio of the Corning Museum of Glass in 2013. I believe it time is subtle and must be measured by the second, so use a timer. was successful and was probably the way that eggshell-thin pieces After firing, take the mold from the kiln, put the lid on, and return were made in the 19th century. it to the kiln for annealing. General Tips for Making Refractory Molds for Kiln 1 Preheating and Annealing Schedule Eggshell-Thin Work

Step 1: Raise the temperature from room temperature to 400ºF. This ● Keep the thickness of the molds even between 5 mm and 8 mm. takes 1 hour and 30 minutes. The molds should be thin so that heat conduction to the glass will

Step 2: Raise the temperature from 400ºF to 1112ºF. This takes 3 be fast. It also makes unmolding easier. hours. ● The molds must be made to withstand abrupt temperature Step 3: Hold at 1112ºF during working time. changes. Covering the final layer of the refractory plaster with Step 4: After finishing the final firing in Kiln 2 and the molds are fiberglass soaked in the refractory plaster slurry prevents the molds returned, lower from 1112ºF F to 910ºF for 3 hours. from cracking during firing. Step 5: Hold at 910ºF for 1 hour. ● Multiple-part molds are not suitable for eggshell-thin ves- Step 6: Turn off, then cool naturally. sels. This is because when the temperature rises abruptly, molds constructed with multiple parts could split at the joints. Kiln 2 Firing Schedule ● When making a model, it is not necessary to think about Step 1: Raise the temperature from room temperature to 1480ºF. undercut areas. Choose a material that can be cast into a uniform

This takes 6 hours. refractory mold. Materials such as clay, silicone rubber, and wax Step 2: Hold at 1480ºF during working time. work well. Wax, however, might leave a residue on the mold so Step 3: Put the molds to be fired in Kiln 1 to preheat. Hold the that when applying colored glass, it would be difficult to mound temperature at 1112ºF. the glass on the mold. Step 4: When the temperature in Kiln 2 reaches 1480ºF, move the molds from Kiln 1 to Kiln 2. Fuse the glass for 5 to 7 minutes. This firing time is subtle, so measure the time precisely using a timer. Step 5: Take the molds out of the kiln to check how the glass is melting. When ready, put the lid with the heated ceramic boards on the open part of the mold and return it to Kiln 1. Then keep going to step 4, step 5, and step 6 under the Kiln 1 schedule.

Albert-Louis Dammouse, Rose Vessel, 5 cm x 12 cm.

Albert-Louis Dammouse, Flower Pattern Bowl, 11 cm high.

32 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Making the Model Using Clay Surry The silicone rubber that we use today was not available during the Art Nouveau period. Casting with clay slurry, which is a tech- nique used in ceramics, is assumed to be the manufacturing method of the model that does not need to consider an undercut. A fast-firing kiln that opens from Pre-Programmed • Prepare the clay slurry by combining clay, sodium silicate, and the top and the water, then mix well using a stirrer. bottom allowing Controller • Filter anything that was not crushed through a sieve and remove it. the glass to be • Put the multipart plaster molds together and secure with rubber easily arranged bands. in the kiln • Pour the clay slurry into the cavity. • Wait about 30 minutes. The plaster will absorb the water in the • Actual Kiln Weight slurry as the slurry hardens. 25 Pounds • Extract the slurry from the mold and cut away any excess clay • 120v/15 amps using a clay knife. • 1700°F Max • Separate the mold and take out the clay model. Temperature • Repair and clean the seam using a brush. The model is now ready to use. Includes kiln wash, stand, and manual The Bonnie Glo Plaster model for Iris replica. Designed to Fire Several Times a Day

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Multiple-part mold for slip casting.

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

The refractory mold can be made using this clay model, which www.isgb.org | 614.222.2243 is soft and therefore easy to remove from the refractory mold in the same way as the silicone models that we use today.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 33 Applying Colored Glass to the Refractory Mold • Choose the colored glass according to the sketches. • Put the colored glasses on a plate or palette and mix them with Clay model made CMC and water. First, apply the colored glass of the design on the by slip casting. relief. Next mound the colored glass so that it is very even to about 5 mm thickness. If there is not enough volume for the glass, holes will emerge when the glass is melted. • After applying color on the relief, mound the colored glass on the body. Use the same process for the design. • Continue mounding the glass up to the top corners of the mold, mounding the glass thicker on the top corners than for the other Place clay mold parts. As the glass melts, the thicker glass around the top corner will on sheet glass. prevent the glass from flowing down because of surface tension. • Finally, press all the mounded glass down lightly using a tool with a rounded surface, such as the back of a spoon, in order to compress any gaps and eliminate air between the glass particles. If any air remains, the abrupt temperature rise during firing will cause the glass to start melting from the surface. The air left behind will swell up like a balloon and burst, thus causing holes. Since both Pour refractory the mold and the applied glass are wet, make sure to dry them very plaster onto the well before firing. clay model. Unmolding and Finishing When the temperature in the kiln goes down to room temperature, unload the piece from the kiln. Break the plaster mold gently using a pointed bamboo or wooden stick. Do not use a wooden hammer. Use a sandblaster to remove the plaster on the glass surface. Grind out any unnecessary glass on the lip using a diamond wheel. Finish the piece using hand grinders, which like a Dremel ma- Cover with chine rotate at variable speeds in two different directions. There the refractory are various attachments you can purchase such as diamond bits and plaster level. flat pads. Different attachments will allow you to do various things, such as grind away glass or carve in signatures.

The Finishing Process Get waterproof carborundum sandpaper in the following grits: 180, 240, 360, and 800 mesh. • Apply double-sticky tape to the sheets of sandpaper. Preparation of the Glass • Attach a circle cutter to the handheld drill and cut out the circles. Whenever you are working with glass and powders or • Attach the sandpaper to the flat pad and polish the glass, starting grinding glass, be sure to wear protective eyewear and a dust mask from the roughest grit to the finest. The wears down rapidly, to prevent the inhalation of glass particles or other injuries. For this so be sure to change it out as needed. For this process, we do not application, use #99 to #150 sized glass particles for both colored use water to keep the glass cooled, so do not push down too much and clear glass. If the granule sizes are too different, the fine and or stay in one area for too long. coarse particles will separate out and cannot be blended well when • Finish the piece by using a brush wheel with pumice. This polishing they are mixed with the glue and water. process erases any grinding traces left on the surface of the piece To prepare the colored glass: by the hand grinder. • Mix colored glass powder with clear glass powder and fire to When you are finished, wash away the pumice. make a color tile. • Crush the tile roughly using a mortar and pestle • Place the cullet in a jar and let it run on the ball mill machine for Shin-ichi and Kimiake Higuchi began exploring the technique about 30 minutes. of pâte de verre in 1987. They established many of their original • Use the #8 sieve to separate the large cullet and porcelain balls techniques through several years of trial and error. Currently, their from the finer glass. work can be seen in many museums and galleries and is collected • Sift the powder through a #100 sieve, then sift it through a #150 globally. The Higuchis have taught workshops in many parts of the sieve. world, including Japan, France, Italy, Mexico, Taiwan, Spain, and For clear glass powder: Crush the clear cullet using a ball mill the United States. machine and sift using sieves and the same process as for colored © Copyright 2014 by Glass Art. glass. All rights reserved.

34 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Readers’ Forum

Maureen, Our magazines arrived to- day . . . hubba- hubba! Please give our thanks to your staff for such great service. The article looks great!! John C. Emery Sr. Preston Studios

Maureen, The Poppy Field article that ran in the Independent Artist G-Manu Cut 1 column covering An elegantly simple and efficient glass the piece I created cutting system designed by Rudi Gritsch. with Cathy Clay- comb turned out Save time and material. Make multiple precise cuts in wonderfully well. a fraction of the time. Great for production work, and it Both the article works for right- or left-handed persons. and the publica- tion are fabulous! bullseyeglass.com/gmanu I am thrilled to be a part of it. Christine Wilson Christine’s Glass Glass Art would like to extend a sincere 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 input. You can share your opinions by con- tacting us via postal mail, e-mail, or phone. Glass Art 8300 Hidden Valley Road Westport, KY 40077 [email protected] (800) 719‑0769 (502) 222‑5631 The thoughts and feelings expressed in the Readers’ Forum do not necessarily reflect those of the publisher or Glass Art magazine.

Armour Products Glass Family www.ArmourProducts.com email: [email protected] 973.427.8787 Like us on Facebook. Also pin us on Pinterest.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 35 Marketing Tips for Increasing Your Social Media Presence

by Mark Veit

s I was straightening up my office, I came across a pile of old Glass Art magazines and began thumbing through some of my Apast articles. The one thing that stuck in my mind after reading a few was the fact that in just a couple of years, social media has evolved into a much bigger part of our business as well as our personal lives. It continues to grow and evolve, and there is no end in site. If you haven’t entered your business into the social media arena, the time is now. If you’re already there, it is important to periodically re-evaluate your approach. Two very important changes are taking place every day. First, your business is growing and your marketing needs are changing. Second, social media is growing and changing With the proper approach, you can accomplish much more with at a very rapid pace, and it is important to keep the two in synch as two quality platforms than you can with six or seven platforms that much as possible. Here are a few things to think about during your are only updated periodically. By providing quality content, you will social media re-evaluation process. have repeat visitors who enjoy what you are sharing plus an excel- lent opportunity to develop a relationship with potential customers. Be Selective Building these relationships will lead to repeat buyers and increased Start by determining which social media sites are working best exposure as more people share your information with others. for you. The abundance of sites can leave you feeling overwhelmed, so it’s important to maintain focus on those practices that reap the Know Your Audience most benefit for your business. If you are a one-man or one-woman One trait of a successful business page is that it engages the enterprise, I recommend focusing on two or three social media audience. If you offer your readers something of value in return for platforms that you find successful. Any more and you will spread supporting your page, you are far more likely to retain them than if yourself too thin and not be able to give each outlet the attention it you just post sales and pictures of your work. Offering sales is an needs to be successful. important tool, but even more important is getting people to want to read what you have to write. By engaging your audience and interacting with their comments, you will build confidence among them, they will be more likely to tell their friends about your page, and you will build consumer confidence for you and your glass art. Asking a relevant question on your page is often a great way to spark a conversation among several readers. At AAE Glass, we focus the majority of our social media efforts on Facebook, Twitter, and our blog. We have tried other platforms such as LinkedIn and Google+ and had some success, but Facebook, Twitter, and our blog have proven to be the best conduit between our business and our online customers.

Offer Quality Photos and Extra Value If you are reading this article, chances are you are involved in making or selling glass art. The single most effective way to share your art with your potential online customers is by posting good pictures, which will catch the eyes of your readers and increase the chances that they will click on your post. Once they are there, be sure to have a little blurb about the piece and include your website address so they know where they can purchase your work. If they aren’t interested in that particular piece, they may know someone who would be and will surely share your post, thus creating a new Glass art by Kim Fields potential customer for you. www.northfiredesigns.com

36 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com It’s also good to offer something of value to readers. For example, Tanya Veit recently posted a tutorial about an inexpensive way to take quality pictures of your glass art. She received a great response by offering a simple tip that she learned years ago, and visitors to our social media sites are definitely benefiting from it. This proved to be a great way to engage glass artists.

Turning Cons into Pros The larger your social media presence becomes, the higher the chance is that you will come across people commonly called “trolls” who are looking to get a rise out of you by criticizing you or your work, This will happen, even though you take every precaution to avoid it. Rather than trying to rationalize why, simply handle the situation professionally. If at all possible, don’t give the trolls the attention they are looking for. Sometimes they are not out to criticize you. They may just want to latch on to a popular post of yours in order to sell their completely unrelated products. Simply deleting the comment and reporting the user will suffice 95 percent of the time. If you don’t catch the trolls immediately, they may be able to engage your audience in a negative way. You will still want to delete the trolls, but you may also want to address the situation to your followers. Let them know you will do your best to keep people like that from accessing your business page, then switch the focus back to your glass art. The best case scenario, should you encounter a troll, is for your followers to see the negative comments made by a troll and respond to them in a way that will back you up. This will build consumer confidence for you and your art as well. When new 909-793-6636 people read your page and see your customers sticking up for you, www.covington-.com they will realize that you provide a great product or service—so much so that your customers take the time to support you online. I would not recommend deleting this type of post, since it acts as a great marketing tool for your business. By building a quality following, you will create a place where repeat customers will come to learn or shop. Best of all, you will leave your customers wanting more.

Mark Veit currently owns and operates www.aaeglass,com along with partners Tanya and John Veit. They create enamel waterslide de- cals for glass artists and sell them on their website along with unique silver settings for glass. They also wholesale their fused glass jewelry to galleries and boutiques. Constantly attending workshops, seminars, and classes with master artisans helps Veit and his partners evolve their work and makes it possible for them to offer glass and jewelry artists a unique medium to maximize their sales. Visit www.aaeglass.com or e-mail [email protected] for more information.

© Copyright 2014 by Glass Art. All rights Reserved.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 37 Art Glass Studio Profile Indre McCraw Making Her Unknown Known

by Shawn Waggoner

s a replication painter since 1996, Indre McCraw has learned her craft from masters no longer bound by earthly constraints. ATheir work remains—part legacy, part teacher—and in learning how to recreate their style and imagery, McCraw is now able to incor- porate elements of each master into her own artwork. She creates new work and does replication painting in equal portions, with a side of autonomous work made for art shows and donations to the American Glass Guild (AGG) auction. With a Masters in education, she counters her solitary life as a glass painter by working with young children as an art teacher. McCraw began her training as a stained glass replication painter while still attending and completing undergraduate work at Parsons School of Design, New York, New York. As a funded Kress Fellow and conservation apprentice at St. Ann’s for Restoration and the Arts, Inc. in Brooklyn Heights, New York, she recreated numerous damaged or destroyed painted works. Following her apprenticeship, she did internships at Stained Glass Studio, England, and the Cathedral Studio, Cologne, Germany. Early in her career McCraw was employed by Jack Cushen Indre McCraw, one of the windows from The Cloisters in situ in Studio Restoration, East Marion, New York, to replicate the paint- the nave of Langon. The top section was painted by McCraw. ing and staining of The Four Winds stained glass window for the Stanford White Cottage at Tick Hall, Montauk, New York. Some of her other freelance projects for Cushen include painting and stain- ing work for the Church of the Ascension, Fifth Ave, New York, St. Ann’s for Restoration and the Arts, Inc. and painting two figures in a Tiffany Studios window (circa 1900), While at Parson’s, McCraw heard about St. Ann’s conservation which was in the possession of a private collector. program. In 1969, St. Ann’s moved into the former Holy Trinity “As a replicator, it’s not about you, but the people who came Church, resulting in the present name of St. Ann and the Holy Trin- before. It’s detective work. You have to figure out what the artist ity. The building itself in Brooklyn Heights was designed by Minard did. It’s never gotten any easier. Now that I know more, I realize Lafever (1798–1854) and completed in 1848. Lafever’s design is how challenging it is to do. Part of what I love about stained glass considered one of the finest masterpieces of the Gothic Revival style is that it’s handed off from generation to generation. Replication in America. More than 7,000 square feet of stained glass by William allows you to be trained by artists who are no longer with us.” Jay Bolton comprises a collection considered by many as one of McCraw’s career as a replication painter has allowed her to work the most significant Early American stained glass installations. In on prestigious commissions with many of the best stained glass 1979, the New York Landmarks Conservancy intervened to save studios in the country. This spring she co-designed and created wa- the aging church and stained glass, and in 1983 the St. Ann Center tercolor sketches and cartoons for Venturella Studio, Union Square, for Restoration and the Arts was founded. New York, for the studio’s 68 square feet of newly designed and The center organized the restoration of the chancel window fabricated stained glass for The Ivy Club at Princeton University, and 64 stained glass windows by Bolton in the nave. They are con- Princeton, New Jersey. These windows commemorate the inclusion sidered the earliest of their type in America. McCraw entered St. of women into the club through the imagery of migrating butterflies Ann’s conservation program under the direction of Mel Greenland and ivy. Her current project for Venturella Studio involves designing and started conservation training. She helped to install the restored and painting windows for a synagogue in Maple Glenn, Pennsylva- chancel window and worked mainly on the north side clerestory, nia, home to 70 windows created by Benoît Gilsoul. lending her replication painting to the windows.

38 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Indre McCraw, Heather’s Dream.

David Fraser, assistant conservator, introduced her to glass painting. “I was working in all kinds of illustrative media when I tried glass painting, and I felt it was the hardest medium I’d ever tried. It was maddening, and I silently vowed, ‘I will conquer this someday.’ I’ve been addicted to glass and glass painting ever since.” When she wasn’t doing conservation work for St. Ann’s, she picked up Albinas Elskus’ book, The Art of Painting on Glass. She ordered oils and supplies from Reusche, began practicing techniques described in the book, and took her first glass painting course outside of St. Ann’s at Richard Millard’s Antrim School in 2000. “I am process oriented and like things that require a lot of work. I also love printmaking, and there are definite parallels between printmaking and stained glass. You have to visualize the end product and work in stages to produce something. Also, being trained in Indre McCraw, Caesar head from a a conservation studio, I adopted a conservation painter’s attitude window commis‑ toward painting. If you can put your ego aside, the possibilities sion for Jack Cushen in the late 1990s. are endless. Every time you paint, you get just a little bit closer to figuring out how to do this.”

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 39 Indre McCraw, glass wine cellar panels.

The Cloisters, Metropolitan Museum of Art The Cloisters, located in Fort Tryon Park, is a branch of the Metropolitan Museum of Art, New York, New York, dedicated to the art and architecture of medieval Europe. The Cloisters’ collection is regarded as one of the most comprehensive displays of me- dieval artwork worldwide and includes Henry Sharp’s double lancet window created for St. Ann’s Church. Depicting the personifications ofFaith and Hope, the window received little maintenance and required a two-year conservation campaign that included cleaning, glass repair, and reinforcement of corroded lead. The conservation treatment needed to improve the legibility of the work without compromising its integrity. In 2007 McCraw was employed to paint backplates behind the original glass of the Sharp windows. “Keeping as much of the original work as pos- sible is key. The challenge in this case was to fill in the patches of loss in the matting and the missing trace lines. The goal was to add only what was needed, nothing more.” The window was installed in 2009 in Gallery 706 of the Charles Engelhard Court in the Indre McCraw, in-process photos of American Wing. the “Helena” head for Faith and Hope Later, McCraw returned to retrofit four 13th-century French windows into five window showing the original head, McCraw’s openings in the Early Gothic Galleries at The Cloisters. She extended the design and backplate, and the two plated together. painted the glass to fit the windows’ new environment. Michael Davis, a Brooklyn-based glassblower/artist, made handblown roundels to match the historic glass. McCraw’s largest challenge was not in painting the grisaille design, but duplicating the look of centuries- old glass. The center chancel window is completely original, while McCraw replicated about 50 percent of the right and left flanking windows as well as the two nave windows.

40 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Upcoming Glass Expert Webinars™ for Winter 2014-15 Live Two-Hour Webinars with Renowned Glass Artists! No Traveling Required!

Tanya Veit October 28 and 30

Petra Kaiser November 4

Indre McCraw, Hen, vitreous paint, stain, and transparent enamel, 2014. Lisa St. Martin November 6

The Four Winds Nancy Tobey McCraw’s first freelance painting commission during her training November 18 and 20 at St. Ann’s came in 1996 for Cushen’s Studio Restoration. “I’m lucky to count Jack Cushen as my mentor,” she says. McCraw’s challenge was to paint a missing window for which no original glass Stephanie O’Toole remained, only enlarged images from photographs. December 2 and 4 The Four Winds window was located in the Stanford White Cot- tage. Actress Carrie Nye and entertainer Dick Cavett owned Tick Hall and another house in a collection of seven houses built by White Margo Clark and known as “The Seven Sisters.” Built in 1880, they were some of Dr. Saulius Jankauskas the first examples of homes used for seasonal escape from the city. In 1997, Tick Hall burned to the ground, and Nye decided to December 16 rebuild it exactly as it had been built by McKim, Mead & White in 1883. Unable to find the original plans, Nye gathered photos from Gil Reynolds family and friends and turned them over to Wasa Architects and Engineers in New York. Tick Hall had 50 windows, virtually none December 18 of standard size. They ranged from eight feet high in the living room to small stained glass dormers on the second floor. Randy Wardell Transitioning to Original Work January 8 With a host of prestigious replication projects under her belt, currently McCraw is transitioning from a career as a replicator to Lisa Vogt designing and painting original projects. Living in a small apartment in Manhattan, this busy working mom keeps her kiln at Venturella January 20 and 22 Studio and does most of her work there. Like many glass painters, her process begins with a trace and matt. She started out working with gum and water for tracing, but ™ eventually switched to clove oil because it’s much more forgiving Visit the Glass Expert Webinars and flexible. In 2013, McCraw was awarded an AGG scholarship link under “What’s New” at to study glass painting with Jonathan Cooke at Wheaton Village, www.GlassPatterns.com Milleville, New Jersey. Cooke served a traditional apprenticeship at for more details and local times. and started his own business in 1987. His book, Time and Temperature, was published early in 2013.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 41 “Since taking Cooke’s class, I have oftentimes inversed my process. Where I used to trace first, now many times I start with Glass Expert Webinars™ a gummy matt. I have not mastered his vinegar technique without frying my paint, so I use gum and water with clove oil on top of that.” McCraw likes the one-step process for firing, but varies ap- No traveling Required! proach based on the project. She works with Reusche enamels and Cliff Oster stains. Many of her panels are fabricated by Venturella Take your glass creations to a higher level Studios in a collaborative process that involves both lead and copper with unique tips and techniques from the foil depending on the work. glass industry’s leading instructors. These projects include residential commissions, such as her work for a private wine cellar on Oyster Bay, Long Island, New York. This commission included four windows. One is plated, mimics tile Data DVDs now available for: patterns, and displays an pattern on a separate piece of • Tanya Veit plated glass. There is also a pair of sandblasted, painted, and stained glass windows that feature animals drinking wine and a tessellating • Petra Kaiser pattern window, also featuring wildlife. “Those windows feel very • David Alcala much like me.” As a submission for the Corning Museum of Glass New Glass • Peggy Pettigrew Stewart Review, McCraw created her autonomous work The Show as well • Margot Clark & Dr. Saulius as a nursery window based on her love of English illustration. Fabricated at Venturella Studios, The Show was constructed using Jankauskas a combination of lead and copper foil. This panel was included in • Denny Berkery AGG’s 2011 members’ exhibition. “It’s challenging to find an inroad to doing painted windows • Cathy Claycomb as personal artistic expression. Stained glass is not considered art, • Kent Lauer because there are a lot of works out there taken directly from pat- tern books. The ecclesiastical tie reminds many people of houses of • Lisa St. Martin worship rather than galleries. And stained glass is dependent on light • Tony Glander and environment and somehow is too crafty or pretty or religious. But it fits me. I want to keep growing and see if I can really become • Dennis Brady an artist in this medium, to be brave enough to go beyond being • Gil Reynolds an able illustrator on glass. Georgia O’Keeffe said: ‘Whether you succeed or not is irrelevant. There is no such thing. Making your • Jackie Truty unknown known is the important thing.’ Perhaps she had a good • Joe Porcelli Milon Townsend point. I’m going with that for the time being.” • Michael Dupille Look for Subscriber Benefits coming to Subscribers Only via • Milon Townsend links in upcoming e-mails from Glass Art. This Bonus Content will include additional information on Indre McCraw’s windows for a • Peter McGrain synagogue in Maple Glenn, Pennsylvania, home to 70 windows • Randy Wardell created by Benoît Gilsoul.

Cathy Claycomb

Peter McGrain Indre McCraw, Recorded live, including answers to The Show. questions from actual Webinar participants asked via live chat Visit the “Books, CDs, and DVDs” link in the Indre McCraw “Store” section of www.glasspatterns.com for [email protected] more information and to purchase these great Data DVDs from Glass Patterns Quarterly. © Copyright 2014 by Glass Art. All rights reserved.

42 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Saw Blades and Replacement Parts ... IN STOCK ... NO WAITING! Choose from blades and parts for the following saws: Gemini Taurus II.2 Gemini Taurus 3

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Don’t pull your hair out while waiting for your current supplier to send you the parts that Gryphon Zephyr Gryphon C-40 you need for your glass saw. We have the parts in stock and ready to ship. Most orders are delivered in 2-3 business days anywhere in the US. Your Subscription Any Way Sign up for our semi-monthly email newsletter and we’ll be happy to send a copy of our CD-rom catalog to you. Loaded with more You Want it than just products – you’ll fi nd hundreds of free patterns, Spectrum’s Score mini-magazine, hot glass tips, glass history and MORE! 111 Industrial Parkway www.SunshineGlass.com Toll-free: 800-828-7159 • Print Buffalo NY 14227-2712 A quality-conscious supplier! [email protected] • Digital PDF • PDF on CD

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www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 43 SGAA News

Featuring the latest from the Stained Glass Association of America

Infinite Horizons SGAA’s 2015 Summer Conference Exhibition

he Stained Glass Association of America (SGAA) will meet for its 106th Annual Summer Conference on June 10–12, 2015, Tat the Double Tree Downtown hotel in Portland, Oregon. SGAA is pleased to announce that Uroboros Glass will be the sponsor for the conference exhibition, Infinite Horizons.

The 2015 Exhibition Theme Uroboros Glass takes its name from the alchemist’s term, Uroboros, which was often represented by a dragon or serpent devouring its own tail. The ancient symbol represents an end- less cycle of renewal or life everlasting. The company’s name honors the traditions and lore of medieval alchemists as they struggled to turn nonprecious lead into precious gold. Simple, elaborate, knotted, or complex, the Uroboros has been depicted in many styles by many cultures throughout the centuries. The artist’s assignment for the 2015 exhibition is to carry the Uroboros theme into glass as a panel, jewelry, sculptured three-dimensional art, or other format. The artistic platform is wide open.

Submission Guidelines The maximum size for any panel is 4 square feet, with 24" as a maximum for any one side. Three-dimensional designs must be within the size limit of 2' x 2' x 2', with a 30-pound weight limit. Larger pieces may not be accepted. Any use of actual art glass in traditional, painted, enameled, beveled, sandblasted, laminated, or a new technique is ac- ceptable as long as it is within the size limitations. Overlay will not be accepted. SGAA exhibitions provide a place where excellent glass art can be found. The variety and high level of technical expertise was very evident in the work submitted for this year’s confer- ence. Be sure to visit the SGAA website to view work from the 2014 exhibition, The Artist. A beautiful flip book has been created with detailed images of all of the entries from two competitions that allowed artists to choose between painted or unpainted entries. The first, second, and third place winners of both competitions are marked. A flip book is already being planned for the 2015 Conference Exhibition. Make sure you are on one of its pages!

Visit www.stainedglass.org for exhibition and conference details or to learn more about SGAA. Art from the 2014 exhibition can be viewed at stainedglass.org?page_id=1339.

© Copyright 2014 by Glass Art. All rights reserved.

44 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Statement of Ownership (Required by 39 USC 3685) Stan dreams big ... 1. Glass Art 2. Publication Number 1068-2147 3 Filing Date: 9-25-2014, 4. Bimonthly 5. 6 issues 6. 1 yr. $30, 2yr. $48, 3yr. $60, 7. 8300 Hidden Valley Road, West- Stan thinks big ... port KY 40077, 8. 8300 Hidden Valley Rd., Westport KY 40077 9. (Publisher) Maureen James, 8300 Hidden Now, Stan can create BIG! Valley Road, Westport KY 40077, (Editor & Managing Editor) Shawn Waggoner, 1515 9th Ave Greeley CO 80631, 10. Steven and Maureen James, 8300 Hidden Valley Road, Westport, KY 40077 11. None 12. N/A, 13. Glass Art, 14. Jan/Feb 2014, March/April 2014, May/June 2014, July/August 2014, Sept/Oct 2014 15. Extent and Nature of Circulation: Average Number of Copies Each Issue During Preceding 12 Months: 15A. Total no. of copies (net press run) 15A 3633 15B(1): 2291 15B(2): 0 15B(3): 582 15B(4): 0 15C: 2873 15D(1): 0 15D(2): 0 15D(3): 1 15D(4): 110 15E: 111 15F: 2984 15G: 649 15H: 3633 15I: 96% 15. Extent and nature of Circulation: Actual no. of copies of single issue published nearest filing date: 15A: Total no. of copies (net press run): 4300 15B(1): 2706 15B(2): 0 15B(3): 693 15B(4): 0 15C: 3399 15D(1): 0 15D(2): 0 15D(3): 0 15D(4): 0 15E: 0 15F: 3399 15G: 901 15H: 4300 15I: 100% 16. Publication of Statement of Ownership is required and will be printed in the Nov/Dec 2014 issue of this publication. 17. I certify that all information furnished on this form is true and Stan Price, Covenant Art Glass of Everett, Washington, asked Olympic Kilns to create a custom bell complete. I understand that anyone who furnishes kiln so that he could create larger commission pieces. Working with Stan, Olympic Kilns designed false or misleading information on this form or who a 29 cubic foot bell kiln (electronic lifting chamber) with a rollout floor. Stan thinks big, and now he omits material or information requested on the form can create big! Learn more about Stan at www.covenantartglass.com. may be subject to criminal sanctions (including fines and imprisonment) and or civil sanctions (including multiple damage and civil penalties), signed Maureen See what Olympic Kilns can do for you! James, Publisher, Date: 9-25-2014. Phone 800.241.4400 / 770.967.4009 • www.greatkilns.com

GLASS Visit our NEW website, www.aaeglass.com. FREE Videos, Marketing Tips, Project Pictures & Tutorials Your one-stop shop for supplies! Order online, by phone, or stop in at our shop. CLASSES & WORKSHOPS • 7,000-Square-Foot Teaching Facility & Bullseye Glass Warehouse • 25% Off All Bullseye Products, All Day, Every Day DVDs • Retail Store with Unique Fused Glass & Hot Glass Supplies • Bullseye Kiln Glass Resource Center • Classes, Workshops & Visiting Guest Instructors • Distributors of Bullseye Glass, CBS Dichroic, Olympic Kilns, Covington & More • Free Open Studio SETTINGS DECALS Now Accepting Wholesale Accounts

AAE Glass Art Studio 1228 Lafayette St. Cape Coral, Florida 33904 239-471-7724 For a list of current classes & workshops, visit www.aaeglass.com.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 45 Educational Glass

VetrateVetrate ArtisticheArtistiche ToscaneToscane StainedStained GlassGlass ApprenticeshipApprenticeship inin TuscanyTuscany

by Shawn Waggoner

ocated in the medieval city of Sienna, Italy, Vetrate Artistiche Toscane perpetuates the rich tradition of stained glass produc- Ltion first practiced there in the 12th century. Founded in 1987 by brothers Gianni and Massimo Bracciali, the studio specializes in stained glass, mosaics, and fusing for architectural and religious spaces as well as stained glass education for liturgical and secular subjects. Famous for its art, cuisine, medieval cityscape, and Palio (a horse race held twice a year), Sienna is rich in artistic and cultural heritage. The city sits on three hills overlooking an Etruscan ar- chitectural site. It was an important locale during the due to its proximity along the Via Francigena that connected Rome with the north of Europe. Prosperous economically and culturally, Siena flourished in art. The list of artists from the Sienese School include Duccio di Buoninsegna and his students Simone Martini, Pietro Lorenzetti, and Martino di Bartolomeo. A number of well- known works of Renaissance and High Renaissance art still remain in galleries or churches in Siena. The Sienese School paved the way from the Byzantine period to the Renaissance. “Siena is the perfect antidote to Florence,” says Gianni Brac- ciali. “Self-contained and still part rural behind its medieval walls, Massimo Bracciali in Vetrate Artistiche Toscane. its great attraction is that it is a completely intact medieval city, a majestic Gothic town that can be enjoyed without venturing into a single museum.” Along with the stained glass windows, three mosaics were commissioned for the chapel. Working with a liturgical design Stained Glass Tuscan Style consultant, mosaic icons were created in the Byzantine tradition Vetrate Artistiche Toscane has produced stained glass for reli- according to specifications. By cooperating and collaborating with gious spaces not only in its native country of Italy, but also in the other artists, Vetrate Artistiche Toscane was able to create a series United States and the Caribbean. The studio’s secular stained glass of windows depicting Augustinian saints as well as a panorama of projects include painted and nonpainted glass as well as medallions. windows using the theme Sunrise to Sunset. “The icons and stained “Painted glass is more suitable for subjects where the description glass windows added the much needed dimension that has given of the subject must be quite accurate. The details one can achieve life to the chapel and the prayerful atmosphere,” says Br. Michael in windows like the ones for New York’s St. Augustine can only Stechmann, O.A.R. Secretary of the Province, Order of the Augus- be achieved with painting of the tesserae,” says Gianni Bracciali. tinian Recollects. One of the studio’s most challenging commissions was com- pleted in 2003 for St. Augustine Church, New City, New York. Glass Painting Workshops This commission included two windows featuring the Archangels, Vetrate Artistiche Toscane launched its Painting on Glass work- each measuring 4 feet 6 inches by 8 feet 10 inches. Two windows shop in 1992. The original teacher, Master Painter Alberto Positano, measuring 4 feet by 6 inches showcased the washing of Emmaus’ learned his craft from the famous Italian glass painter, Fiorenzo Joni, feet. The Nativity, Cana Wedding, and Saints Monica and Augustine with whom he collaborated for 10 years. While Positano still works windows each measured 11 feet by 8 feet 10 inches. There were with the studio, the workshop is now led by Gianni Braccali, one of also windows depicting the Last Supper, St. Patrick, St. Anna, and the studio’s founders, who was taught by Positano. St. Joachim, and three rose windows. Five windows including The studio works with and teaches the traditional form of glass St. Ambrose, St. Gregory the Great, St. Cecilia, and two Reconcilia- painting used in restoration and also more modern techniques such tion themes, plus four 4-foot evangelist windows and two seraphim as airbrushing. One-week classes are offered once in the spring and finished off this tour de force of painted liturgical work. again in the fall. In 2014, fall classes will be held November 15–19.

46 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Vetrate Artistiche Toscane, Saints Monica and Augustine, 13' 2" x 8' 10".

Vetrate Artistiche Toscane, The Last Supper, 15' 2" x 8' 10".

Entrance to the studio on one of the most picturesque streets in Siena. www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 47 Stained Glass Apprenticeships The studio’s one-month apprenticeship is tailored for beginning students, although advanced and professional glass artists have found the apprenticeship to be useful to enhance their skills and exchange ideas. Apprenticeships cover: • techniques, materials, and tools • design of cartoons and patterns • glass cutting • using and matching different types of glass Glass Art • basic painting techniques, including grisalle, media, tracing, and matting • leading, soldering, and cementing • kiln operation and glass fusing • combining leaded, fused, and painted glass Subscriber • installation Students also work on whatever projects or commissions are in the studio at the time, usually about 70 percent stained glass and 30 percent fused glass. Participants are assisted in finding accom- modations, usually private studios for rent within walking distance Look for these November/ of Vetrate Artistiche Toscane. Supplies and materials are included December 2014 Subscriber in the workshop fee, and English is spoken in the studio. Benefits Articles in E-mails Though students and apprentices can gain knowledge from any Benefitsfrom Glass Art! number of studios around the world, few places can compete with Siena for its history, food, and wine. If you are interested in com- bining stained and fused glass education in Siena, Italy, contact the Be sure we have your current studio for more details. e-mail address so you won’t miss this extra value offered to subscribers only.

Pioneers in Glass Fritz Dreisbach’s 50 Years in Glass

Art Glass Studio Profile Indre McCraw Replication Work for a Synagogue in Maple Glenn, Pennsylvania

Working Greener Slate Grove Becoming the Manager of UrbanGlass

www.GlassArtMagazine.com Vetrate Artistiche Toscane, rose window representing the [email protected] Madonna and Child, with dedication, 84" (2.20 m) diam- 800.719.0769 eter. Located at the Carmelite Monastery of the 502.222.5631 Holy Name of Jesus, New Franken, Wisconsin.

Detail of stained glass for The Ivy Club at Princeton University. Indre McCraw & Vetrate Artistiche Toscane Venturella Studio, Union Square, New York Via della Galluzza, 5 53100 Siena, Italy [email protected] www.glassisland.com

48 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Premium Glass Products, Inc. Can Your Present Supplier Give You Quality Bevels This Small? Visit a Toyo Authorized Dealer!

® Actual size TOYO is more than the Pistol Grip Supercutter —does your dealer carry the full line of Toyo tools? of our Are you cutting with Tap-Wheel® Technology, Toyo’s latest patented innovation? Visit the smallest Glass Accessories International website, www.toyosupercutter.com to find out more about Bevel the Tap-Wheel, see all the quality Toyo glass tools, and locate a Toyo Authorized Dealer.

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www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 49 AGG News A “Glasstopia” Success

Featuring the latest from the American Glass Guild

Text and Photography by Tony Glander

he American Glass Guild (AGG) Summer 2014 conference was an astonishing event. AGG’s conferences have always been well Tplanned and staged. What made this conference a “Glasstopia” was its incredible setting. The grounds of Bryn Athyn College, just north of Philadelphia, Pennsylvania, provided a perfect combination of facilities that provided a great conference experience for the attend- ees. From displays to workshops to presentations, the AGG took full advantage of the grounds by using everything from a stunning cathedral to contemporary classrooms.

The Perfect Glass Art Venue The Bryn Athyn campus offered an abundance of excellent places to exhibit the art that was part of this year’s conference. All varieties of stained glass were found throughout the grounds. Hanging at the Glencairn Museum was the juried members’ show American Glass Now. Displayed in the window of a sunporch area, the artistic panels were carefully mounted so that the light came directly through the panels. This allowed for full appreciation of the artists’ hard work and talent. The Glencairn Museum also was the stage for Narcissus Qua- gliata’s lecture and award presentation. The great stone hall with its high ceiling and castle-like feel was the perfect setting for viewing his elaborate and grand designs, all large-scale work that depicts exotic settings from around the world. The Doering Center is an incredible space with large glass windows and high ceilings that housed a wide array of glasswork. Stained glass panels from the high school student organization, Doors that Open Windows, were exhibited there and provided great examples of self-expression. Also in the lobby were panels from J. Kenneth Leap’s college class that included both stained and fused works of glass art. Topping off the building on the second floor was a members’ show that included stained glass panels exhibiting incredible painting skills. A short walk across the beautiful campus was the Brickman Center, which housed a number of stained glass panels donated by members for the annual fundraising auction. And, of course, the Bryn Athyn Cathedral, just across the street, is a stained glass lover’s dream. Sean Merchant’s panel, part of the American Glass Now exhibition.

50 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Head of Christ, pot metal and white glass with silver stain and sanguine, 16th century. Pitcairn Collection of Medieval Glass, Glencairn Museum.

Learning and Growing Workshops were held in the Doering Center in college classrooms Ervin Bossanyi’s window in the National typically used for science classes. This provided a great work space Cathedral, Washington, D.C. that allowed instructors the ability to use kilns and paints with the proper ventilation. At the same time, it also allowed instructors to have comfortable lecture space so they could present all of their information. The two factors that led to strengthening member relationships were the dining hall and dormitories. Attendees took full advantage of these opportunities to meet new people, talk to presenters, or simply catch up with old friends. People who stayed in the campus dormitories found the casual evening gatherings in the cool summer evenings a great time to relax and catch up as well. As wonderful a location as Bryn Athyn College proved to be for “Glasstopia,” it was overshadowed by the quality of speakers, members, and the excitement that makes up the body of any AGG conference. The contacts and continued friendships are the main key. As this well-planned conference came to a close, it was an- nounced that the Summer 2015 AGG Conference would take place in Washington, D.C., with its sights set on another great cathedral!

Visit www.americanglassguild.org to learn more about AGG and the organization’s upcoming events.

Editor’s Note: The photo caption in the AGG article on page 19 of the Glass Art September/October 2014 print edition National Cathedral, Washington, D.C. mistakenly identified presenter Nancy Gong as Nancy Wong. Our sincere apologies go to Ms. Gong for this error.

© Copyright 2014 by Glass Art All rights reserved.

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 51 Introducing the 2014 Winner of the Glass Craft Emerging Artist Award . . .

ister publications, Glass Art, Glass Patterns Quarterly, and • Fused/Cast/Kiln Worked The Flow, are proud to join with the Glass Craft & Bead Expo • Stained Glass Sto recognize up-and-coming glass artists through the Glass Craft • Mosaic Emerging Artist Award. The winner will be chosen from among • Cold Working (etched, beveled, painted) those who have work accepted into the annual juried art competi- • Blown and Flameworked Sculpture tion, Gallery of Excellence, which is part of the Expo that is held • Beads & Jewelry in Las Vegas, Nevada. There is a maximum of 2 entries allowed. Submitted art will be displayed in a special area of the Exhibit Hall One winner will be selected from among all of the artists for viewing. Voting will be by a panel of judges, with a Popular Vote throughout the Gallery of Excellence and will be promoted through category winner voted by all in attendance. The six categories will coverage in industry publications, websites, and social media. We are include both Professional and Amateur divisions for the following: thrilled to promote these artists who are rising stars within the glass art community. For more information on submitting to the Gallery of Excellence, call the Glass Craft & Bead Expo at (800) 217‑4527 or (702) 734‑0070, or visit www.glassexpo.com.

(Left to right): Filip Vogelpohl, Blizzard, 8' x 8' x 8', 2010 (flameworked blown for a private Idaho residence); Rivers End, 10' x 8' x 13', 2012 (flameworked blown borosilicate glass chande- lier for Parade of Homes); Wild Mountain Goat, 24" x 13" x 15", 2009 (flameworked blown borosilicate glass). Skull photo by David R. Day.

Filip Vogelpohl was born in Prague, Czech Republic, and fled The artist founded Boise Art Glass in Boise, Idaho, and works to the United States with his family in 1987 as a refugee. He grew there every day, blowing glass and teaching classes. His glass art up in Boise, Idaho, and took numerous art classes throughout high has been in galleries throughout the country, and his commissioned school. When he was 18, he attended a concert in Eugene, Oregon, chandeliers can be found in many restaurants and homes. Even where he happened to see a fellow blowing glass, an event that though Vogelpohl has worked in glass for 18 years, he still ap- sparked an instant attraction to the medium. proaches the process of research and exploration as a student and Vogelpohl’s first two years of flameworking involved intense follows his curiosity when considering both the content and the torch time and guidance. He continued to travel while taking classes method of his art. He sums it up by saying, “I have no doubt that I all over the world, studying with such glass greats as Robert Mick- will never stop learning and forever be inspired.” elsen, Kevin O’Grady, and Cesare Toffolo. Visit boiseartglass.com to learn more about Filip Vogelpohl and his glass art.

© Copyright 2014 by Glass Art. All rights reserved.

52 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Filip Vogelpohl

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 53

Gallery of Excellence GlassGlass CraftCraft && BeadBead ExpoExpo CelebratesCelebrates 2020 YearsYears by Shawn Waggoner

he Glass Craft & Bead Expo turned 20 this year and celebrated Gallery of Excellence Tits anniversary in style at the South Point Hotel and Casino, Las Glass Patterns Quarterly, Glass Art, and The Flow magazines Vegas, Nevada, from March 26–30, 2014. Over 250 classes were sponsored The Gallery of Excellence annual juried art competition. taken by nearly 900 students hailing from 48 states, seven prov- Submitted artwork was displayed in a special area of the exhibit inces in Canada, and as far away as Australia, Chile, China, Israel, hall for viewing. A panel of judges voted on the works, and all in Japan, Mexico, Guatemala, Sweden, and the United Kingdom. attendance also cast a popular vote. The six different categories in- The tradeshow boasted 116 exhibiting companies, with a three-day cluded fused/cast/kiln worked, stained glass, mosaic, cold working, attendance of over 7,800 who came to see the latest in glass tech- blown and flameworked sculpture, and beads and jewelry. Each year nology, equipment, and techniques, as well as many artists selling the Gallery of Excellence entries in both professional and amateur their work to the public. categories astound attendees with the beauty of the work and the On Thursday, March 27, the staff of Las Vegas Management skill required to make it. hosted a celebration to thank its supporters. “Glass Craft & Bead Expo has had its share of hurdles to overcome, but with such loyal support we have managed to get over the humps and become the pre- mier glass event in the country,” says Patty Cerajewski, convention show manager, Las Vegas Management. “The glass community is a close knit and supportive family that we are proud to be a part of.”

Professional Winners

Fused/Cast/Kiln Worked First Place Janet Schrader Geisha Second Place Nancy Cann Clock Third Place William and Carol Hutchinson Beau Ideal People’s Choice Ani MacIntyre For the Big Cats

Mosaic First Place & People’s Choice Christine Stewart Lotus Christine Stewart Second Place Lotus Mary Mooney Yellow Fish Third Place Carrie Sohayda Filip Vogelpohl Lotus Mandala African Kudu

54 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Stained Glass First Place Richard Flazone Fresh Octopus Second Place Christine Wilson That was now . . . Third Place & People’s Choice Mary Harris Tattooed in Tiffany

Blown & Flameworked

First Place Filip Vogelpohl African Kudu Second Place Tatyana Boyarinova Mask Janet Schrader Third Place & People’s Choice Geisha Kylee Koenig Urchin Blossoms Anna Chernykh Beads & Jewelry Bicycle

First Place Anna Chernykh Bicycle Second Place Anna Chernykh Heart of the City Third Place Jeri Wiskus Rose People’s Choice Andrea Olson Dragon Eye

Cold Working

First Place Gwen Hertz Gwen Hertz It’s All in the Details It’s All in the Details Second Place & People’s Choice Mary Harris Elk Shower Door Third Place Jessica Sellers Ebb and Flow

Richard Flazone Fresh Octopus

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 55

Amateur Winners

Fused/Cast/Kiln Worked

First Place Lyniegh Love Day and Night in Savannah Second Place Linda Allmendinger Begonia Leaf Lyniegh Love Third Place Day and Night in Savannah Susan McGarry Julie Kopka Glass Quilts Blackjack People’s Choice Kathleen Wasserman From a Small Kiln Grew a Giant Oak

Mosaic

First Place Julie Kopka Blackjack Second Place & People’s Choice Christine Harris-Brown Time and Space Third Place Toni Shaw Tree of Lights

Stained Glass Kat Patrick First Place Flor Luna Kat Patrick Flor Luna

Beads & Jewelry

First Place Susan McGarry Miniature Glass Purse

Cold Working

First Place Scott Bruic Royalty Susan McGarry Miniature Glass Purse

Scott Bruic Royalty

56 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com

Carlton Junction High School Carlton Junction, Missouri

Fused/Cast/Kiln Worked

First Place Joseph Nguyen Koi Plate Second Place Bryce Boyd Black & White Third Place Chase Boyd Summer Safari Joseph Nguyen Bryce Boyd People’s Choice Koi Plate Loopy Layers Shae Patrick Harlequinn Stripes

Beads & Jewelry

First Place Bryce Boyd Loopy Layers Bryce Boyd Self Pop-Art Second Place & People’s Choice Chase Boyd Colorful Wave Third Place Shandra Kobler Green Valley Beautiful Creativity High School Henderson, Nevada Stained Glass Mosaics First Place Anna Clymer Anna Clymer Seasonal Change First Place Seasonal Change Kerry Callahan Good Morning Sunshine Second Place Shae Patrick Second Place Verde Dreams Allie Anderson Splendid Sun Mosaics Third Place Jamaica Lewis First Place Jamaican Music Bryce Boyd Self Pop-Art People’s Choice Alexys Fernandez Second Place Turtle Fly Gracen Frazier Web of Dreams Stained Glass Third Place Shampagne York First Place Day of the Dead Kerry Callahan Moon Catcher People’s Choice Kerry Callahan Erika Hisano Moon Catcher Second Place The Sea Turtle Kerry Callahan Kerry Callahan Good Morning Sunshine Suncatcher

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 57 Glass Cutting Contest Expo’s Glass Cutting contest was held Friday, March 28, on the trade show floor. Each participant was provided with a pattern, clear glass, and a four-minute time limit. Judges included Denny Berkery of Madison, Wisconsin; Jacqui Bush of McKinney, Texas; and Philip Teefy of Sacramento, California. Judging was based upon the accuracy of the cuts completed, with prizes awarded for first, second, and third place. Prizes were awarded in the Beginner category to Mary Shevlin of Duncanville, Texas (First Place); Cindy Zachman of Marysville, Washington (Second Place); and Andrea Turner of Bellaire, Texas (Third Place). Winners in the Advanced category included Scott Bruh of Burney, California (First Place); Alysa Phiel of Tucson, Arizona (Second Place); and Gail Jamieson of Phoenix, Arizona (Third Place). Invited participants—Cathy Claycomb, Michael Dupille, Tony Glander, Petra Kaiser, Peter McGrain, Christine Stewart, Carrie Strope, Connie Sanchez, and John Williams—competed in the Super Pro Category. These professional artists cut glass pieces as quickly as possible. The pieces were later assembled and fused into an artwork designed by Christine Stewart of Macksville, New South Wales, Australia, and fired by Mike Glotfelty of Lakeland, Florida, in his Jen-Ken kilns. The finished work was donated to the Charity Auction. Super Pro winners included Strope, (First Place); Claycomb (Second Place); and Sanchez (Third Place).

Charity Auction On Sunday, March 30, auctioneer Joe Porcelli led the bidding of enthusiastic attendees for equipment, tools, products, and art pieces, raising $6,000 for Las Vegas’ favorite charity, Opportunity Village. Founded in 1954 by a group of local families seeking to improve the lives of their children with intellectual disabilities, Opportunity Village has grown into Nevada’s largest private, not- for-profit community rehabilitation program serving more than 3,000 people annually through vocational training, community job placement, advocacy, and social recreational programs. More than just a charity, Opportunity Village operates two employment training campuses and one thrift store in Southern Nevada.

The 2015 Glass Craft & Bead Expo Expo’s 2015 trade show will be held again at the South Point Hotel Casino in Las Vegas from April 8–12. Las Vegas Management thanks all of the members of the art glass industry and its teachers, exhibitors, and students for supporting the Glass Craft & Bead Expo in the past. Here’s to the next 20 years!

Visit glasscraftexpo.com/gallery_of_excellence.html to view the work of all of the place winners for the 2014 Glass Craft & Bead Expo Gallery of Excellence.

Las Vegas Management 2408 Chapman Drive Las Vegas, Nevada 89104 800-217-4527 (toll free) 702-836-1104 (direct) © Copyright 2014 702-734-0636 (fax) by Glass Art. www.glasscraftexpo.com All rights reserved.

58 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com What’s New

Fire Mountain Gems and Beads introduces Coatings By Sandberg (CBS) is pleased to announce its newest Pendant and Drop Sets. These beautifully 4" x 4" pattern, Comet Trail, just in time for your upcoming holi- detailed three-piece drop sets include two day projects. This beautiful Rainbow square smaller drops with a matching larger drop. has both a colorful blaze down the middle Made exclusively for Fire Mountain Gems and a unique combination of Rainbow Di- and Beads, they are created using molds chroic in each piece. Available immediately, from vintage Czech . The sets are it can be purchased individually sealed and constructed of pewter and are finished with packaged in either 90 or 96 COE in clear or antiqued silver or gold. Visit the company’s website for a free copy black glass. Visit the company’s website for of the 448-page, full-color Jewelry Maker’s Catalog with these and more details. many more products available from Fire Mountain. 714‑538‑0888 800‑355‑2137 541‑956‑7890 www.cbs-dichroic.com www.firemountaingems.com Ed Hoy’s International now has the Wissmach Glass Co. presents Wissmach 90™ transparent sheet new Icicle mold from Colour de Verre. glass. Colors range Create sparkling icicles for Christmas from Clear, Light or trees and holiday windows with this de- Bright Blue, Light or sign. They are extremely easy to make. Bright Green, and Violet, to Light Amber, Orange/Reds, and Dark Just fill the body with coarse frit and the Reds. This line also includes Coral and Champagne striking col- ring with medium frit, then fire. Three or four make a perfect holiday ors. Different shade variations and color intensity can be obtained project for instructors and students or as a small gift for friends and when the glass is layered on clear glass or on the color itself. The colleagues. The finished icicles range from 4‑1/4" to 5" long. Visit 90 COE line also has opaque sheet glass in Black, White, Orange/ the company’s website for more details. Red, and Yellow. 800‑323‑5668 [email protected] 304‑337‑2253 [email protected] www.edhoy.com www.wissmachglass.com The KBW Foundation Conference will be Northwest Art Glass has increased sponsoring its sixth annual cruise aboard its selection of affordable fusing Royal Caribbean’s Brilliance of the Seas on glass to thirty colors. Available as October 11, 2015. This seven-day round-trip ad- large as 24" x 48" sheets, this nonstandard System 96® glass from venture will leave Boston, Massachusetts, and sail to New England Spectrum features a 25 percent discount with a minimum purchase and Canada. This popular destination is renowned for its dazzling of four square feet per color. Visit the company’s website to ask for fall foliage and spectacular coastal views. Glass enthusiasts can a stock report and fill a Small Sheet Box. enjoy all-new lectures and workshops that cover innovative fusing 800‑888‑9444 425‑861‑9600 techniques, kiln firing, working with copper, stained glass design www.nwartglass.com software, jewelry, photography, glass enameling, screen printing,

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 59 6 Ad.pdf 1 7/9/14 3:43 PM

Verre Églomisé™ glass, lead came techniques, and more. A vibrant team of accomplished instructors includes Cathy Claycomb, Peggy Pettigrew Stewart, Lisa Richardson Bach, Kay Bain Weiner, and Ann Sanborn. Funds realized from this event will help support Bear the Foundation’s goal of stimulating interest and growth in the glass art industry through Paw educational projects, scholarships, grants, and donations of glass art books and supplies to public schools. Contact Kay or Herb Weiner for a special group rate and limited-time Studios shipboard credit offer. Custom Art Glass 760‑603‑8646 www.kbwfoundation.com

C Workshops Torchworking AAE Glass presents a new DVD, Extreme Fused Glass Jewelry M Volume III: Scenic Layering. Tanya Veit shares techniques that are Studio Rentals Kilnworking a large part of the reason why her fused glass jewelry is some of the Y Glass Supplies Coldworking most sought-after in the world. This video teaches glass artists the CM Featuring Bullseye Glass Products, process and thought behind these magnificent pieces in true Tanya Carlisle Torches, Paragon Kilns MY . Discover how Tanya creates the scenes and backgrounds that

CY she uses in her glass art in this full-length instructional DVD.

CMY 239‑471‑7714 [email protected] www.aaeglass.com K

D&L Art Glass Supply is proud to present new 90 and 96 COE variety boxes from Wissmach Glass. Each box contains ten sheets of 11" or 16" squares that include a mixture of transparent, opal, and luminescent styles. These convenient packs make a great addition to your studio or store. Learn more about these boxes as well as packs from Bullseye, Spectrum, Uroboros, and more on the company’s website. 800‑525‑0940 303‑449‑8737 www.BearPawStudios.net www.dlartglass.com

Paragon Industries has just added new features to its F-130, F-240, and F-500 lampworking glass kilns, which The now have 3"-thick firebrick walls. Features that originally came standard only on the F-500 are now standard on the F-130 and F-240 as well. They include a mercury relay to con- trol the cycling of the heating elements and a slide-out mandrel Word holder that can be adjusted horizontally and vertically without in Stained Glass Patterns tools. These kilns also now come with sidewall elements that heat from the sides and back, but they be still be ordered with top elements, if preferred, for the same price. 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 Illustrated website for additional information. 800‑445‑7742 206‑343‑7336 www.glasscolor.com

Denver Glass Machinery, along with its already extensive line of cold working tools, Twenty-One stocks Diamond Impregnated Felt Bobs. Use Inspirational Patterns these little gems to remove small imperfections by Karen Stephenson in glass pieces. Great for the casting artist, they are available in 200, 400, and 800 grit 800-719-0769 sizes. Areas can be given a final polish with the same profile felt bob and cerium oxide. www.GlassPatterns.com Any Dremel tool or Flex Shaft can be used. Call to speak to an experienced sales staff

60 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com member for help with your buying decision or visit Denver’s website for more on all of the company’s glass tools and machinery. 303‑781‑0980 [email protected] R&R® Glass-Cast™ www.denverglass.com MOLD MATERIALS TO MEET THE SPECIFIC NEEDS OF GLASS CASTERS

Master Artisan Products now has 2"- deep Steel Ring Molds. These molds are Offering a variety of mold materials to the production facility, extra-deep for studio artist and hobbyist. extra-deep castings and R&R GLASS-CAST is pleased to offer are available glass casters a collection of products, providing unprecedented flexibility in 8"-, 12"-, and 16" diameters. to the user. (250) 382-9554 www.masterartisanproducts.com  R&R® Glass-Cast™ BANDUST ™101 investment ® 1 Glass Impressions now offers Mission  R&R Glass-Cast™ 400 investment  R&R® Glass-Cast™ 910 investment Lighted Bases in satin-finished African ® L-R: Original | Silicone Mold | Wax Pattern | Glass Casting  R&R Glass-Cast™ 965 investment mahogany. The base is 8‑1/4" x 8‑1/4" x 1" Created with R&R GLASS-CAST 910 investment  R&R® Mold-Mix 50/50 investment high and is routed out with a 1/8"-wide groove in 800.253.4502 | www.glass-cast.com the top of GK Drop Bottom_4.625x3.75.ai 10/29/2013 6:40:17 AM the base to accommo- date glass. The center opening be- tween the grooves is 6" x 6", and there is an inset in the center of the base that serves as a votive candleholder. An electrical cord C with inline switch and light socket (bulb included) plugs into the bottom of theM INTRODUCING wood base. Y

920‑382‑1807 CM THE GK SERIES www.1glassimpressions.com MY DROP-BOTTOM GLASS KILNSLNS

CY His Glassworks provides Your ideal solution to manipulatingng better work lighting with CMY hot glass with minimal heat loss.s. the 24" Flexible Arm K Work Lights from Moffatt Professionals and hobbyists alike are enthusiastic aboutbout Lighting. Available as direct our new drop-bottom action technology, which allowsows fforor

mounts with accessories for artists to manipulate their creations while hot and malleable.alleabblee. THE magnetic mounts and C-clamp mounts, Moffatt Lighting is easy to Cress Manufacturing • www.cressmfg.com • (800) 423-4584 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

Glass Accessories International (GAI) now has a Dealer Locator on its website as a service to customers. Wholesale and retail dealers are encouraged to register as an Authorized Toyo Dealer on the web- site. Qualified registrants will be listed in the locator and receive a free gift from GAI. [email protected] www.glassaccessories.com

www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 61 Advertisers' Index

Advertiser Page 1 Glass Impressions (920) 382-1807 www.1GlassImpressions.com 23 AAE Glass (239) 471-7724 www.aaeglass.com 45 Armour Products (973) 427-8787 www.armourproducts.com 35 A.R.T.CO +1.408.288.7978 www.ArtcoInc.com 62 Bear Paw Studios www.bearpawstudios.net 60 Bullseye Glass www.bullseyeglass.com 35 CG Beads (940) 458-8322 www.cgbeads.com 27 Coatings By Sandberg, Inc. (714) 538-0888 www.cbs-dichroic.com 27 Covington Engineering Corp. (877) 793-6636 www.covington-engineering.com 37 Cress Manufacturing (800) 423-4584 www.cresskilns.com 61 D&L Art Glass Supply (800) 525-0940 www.dlartglass.com 13 Denver Glass Machinery, Inc. (303) 781-0980 www.denverglass.com 43 Ed Hoy’s International (800) 323-5668 www.edhoy.com 11 Euclid’s Elements (800) 296-5456 www.euclids.com 59 Evenheat Kiln, Inc. (989) 856-2281 www.evenheat-kiln.com 23 Firelite Forms (888) 800-3901 www.fireliteforms.com 37 Fire Mountain Gems and Beads (800) 355-2137 www.firemountaingems.com 2 Flow, The (800) 719-0769 www.TheFlowMagazine.com 43 Franklin Art Glass (800) 848-7683 www.franklinartglass.com 17 Gemini Saw Company, Inc. (310) 891-0288 www.geminisaw.com 5 GLASHAUS www.Glasshouse.de 12 Glass Accessories International www.glassaccessories.com 49 Glass Art (800) 719-0769 www.GlassArtMagazine.com 27/48 Glass Art Society (206) 382-1305 www.glassart.org 12 You’ve got the passion, the Glass Craft & Bead Expo (800) 217-4527 www.glasscraftexpo.com 58 Glasscraft www.glasscraftinc.com 49 drive, and the dreams ... Glass Expert Webinars™ (800) 719-0769 www.GlassPatterns.com 41/42 Glastar (800) 423-5635 www.glastar.com 11 Hang Your Glass (650) 353-4642 www.HangYourGlass.com 13 His Glassworks, Inc. (828) 254-2559 www.hisglassworks.com 23 Illustrated Word, The (800) 719-0769 www.glasspatterns.com 60 ISGB (612) 222-2243 www.isgb.org 33 Jen-Ken Kilns (800) 329-KILN www.jenkenkilns.com 33 KBW Foundation (760) 603-8646 www.KBWFoundation.com 22/23 Master Artisan Products (250) 382-9554 www.masterartisanproducts.com 29 Nortel Manufacturing (416) 438-3325 www.nortelmfg.com 21 Northwest Art Glass (800) 888-9444 www.nwartglass.com 7 Olympic Color Rods (800) 445-7742 www.glasscolor.com 62 Olympic Kilns (800) 241-4400 www.greatkilns.com 45 We’ve got the tools to make your Paragon Industries (800) 876-4328 www.paragonweb.com 21 Paul Wissmach Glass Co., Inc. (304) 337-2253 www.wissmachglass.com 64 dreams come true. Premium Glass Products Inc. (800) 752-3501 www.premiumglass.net 49 Professional Glass Consultants (888) ETCHPRO www.EtchMaster.com 61 Ransom & Randolph (419) 794-1290 www.glass-cast.com 61 Skutt Kilns (503) 774-6000 www.skutt.com 3 Spectrum Glass Company (425) 483-6699 www.spectrumglass.com 63 408.288.7978 www.artcoinc.com [email protected] Sunshine Glassworks Ltd. (800) 828-7159 www.SunshineGlass.com 43

62 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com Peacock Green OPAL

Patty Gray

A color this rich and sumptuous deserves a name that struts a little... Welcome new Peacock Green Opal, a deep blue-green that adds a stunning new dimension to the System 96® Opal palette.

Available in Sheet Glass and Frit.

223-74SF

This versatile color works equally well with bright, bold colors or with more earthy tones such as the Fusers’ Reserve™ shown at left.

System96.com www.wissmachglass.com [email protected]