DOCSLIB.ORG

Art Glass Classes 2017 CONTENTS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Art Glass Classes 2017 CONTENTS About Kiln-Glass 2 Kilncasting 15 Bullseye Resource Centers 3 Open Studio 17 Introductory Classes 4 Instructors 18 Kilnforming Techniques 7 Registration and Policies 23 Drawing, Painting and Printmaking 13 Locations 23 ABOUT KILN GLASS Richard Parrish. See his class on page 11. Kiln-glass provides an enormous range of levels—from glass fusing beginners to advanced kilnformers—in a techniques and results that are easily accessible. supportive and inspirational environment. Working with this remarkable material requires two things that most artists already possess: an And as you learn to do amazing things with kiln-glass, you’ll also benefit from Bullseye’s decades of research into materials, processes, understanding of design, composition, and color products, and equipment. theory; and the ability to conceive of layers of process and material application. Note: This catalog provides an overview of the kinds of courses we offer, but our Research & Education team continues to design While kiln-glass does require technical knowledge, this can be new courses. The complete schedule of offerings is available at obtained in short order through courses in this catalog, developed bullseyeglass.com/classes. You can also sign up for email updates at by Bullseye through years of collaboration with artists from bullseyeglass.com/email (we never share or sell your address). many mediums. We offer classes year round for students at all 2 BULLSEYE RESOURCE CENTERS Bullseye’s Resource Centers are world-class teaching centers, offering short courses year round for students at all levels, as well as free artist talks and demonstrations. Our instructors are respected national and international artists who teach in a friendly atmosphere with state-of-the-art equipment. Classes and Workshops Classes and workshops at Bullseye are for those 18 years of age and older, except where noted, or by special permission and when accompanied by an enrolled adult. Classes range from a few hours to several days, and many are offered more than once in more than one location. Private and custom workshops are also available. Contact a Resource Center for more information. For complete class registration policies, see page 23. Artist Talks and Demonstrations Bullseye invites artists from around the world to demonstrate techniques and discuss their work. These events are offered free of charge, but reservations are required at least 24 hours in advance. (We cannot take reservations at the door.) Find out more about upcoming events at our website: bullseyeglass.com/events. Open Studio Bring your Bullseye glass (or piece made of Bullseye Glass to be coldworked) to one of our Resource Centers and enjoy access to tools, kilns, and non-glass supplies. Eligibility: Anyone who has taken a class at Bullseye may sign up for Open Studio. We do not teach kilnforming techniques in Open Studio, and you must have the basic knowledge and skills necessary to complete your project. Advance registration is required. See page 17 for more information. Glass for Good fundraising parties It’s a win-win situation: You learn to make beautiful fused glass art, and Bullseye Glass donates up to $800 to your school or non-profit organization! Contact a Resource Center for more information. Bullseye’s Kiln-Glass Education Online Bullseye’s Kiln-Glass Education Online aims to inspire kiln-glass makers everywhere, helping them to build foundational skills, acquire new techniques, and discover new forms and projects. Only $45/year. New video lessons added year round, plus access to the complete library—more than 90 so far! Subscribe today at bullseyeglass.com/bkeo. On the cover: Morgan Van Madison, Impression #2, 2012. www.morganvanmadison.com Current class offerings at bullseyeglass.com/classes 3 INTRODUCTORY CLASSES These quick kilnforming classes are a fun and affordable way to experiment with glass fusing techniques. You’ll indulge your creative urge while making your own unique artwork. Great for beginners—no experience necessary. Classes above from left to right, top to bottom: Perfect Pendants, Graphic Relief in Thick Glass, Kilncarved Plates, Glass Fusing Fundamentals, Basic Pâte de Verre Bowl, New: Stripes and Dots, Basic Pâte de Verre Bowl, New: Vitrigraph Plate, Coldworking Basics. Glass Fusing Fundamentals 16 students, 2.5 hours This 2.5-hour class introduces many fundamental concepts of creating glass objects in the kiln. After a brief overview, you will make an 8" x 8" fused and slumped plate, enjoying a wide range of glasses to choose from. Plates will be fired after the workshop and available for pickup a few days later. After completing this class, you will be eligible to continue working in Bullseye’s Open Studio sessions. No experience with glass is required for this course—recommended for beginners. 4 Hip to Be Square: Graphic Coasters 16 students, 2.5 hours Create a set of landing pads for your favorite beverage. You’ll also learn about powder printing, a technique that presses glass powder through a screen to create images with rich colors and textures. Working with a selection of Bullseye sheet glass colors and screens prepared with a wide range of images, you’ll make art you can drink on: four 4"-square glass coasters that your guests will want to steal. Coasters will be fired after class and available for pickup a few days after class. No previous experience necessary. Perfect Pendants 16 students, 2.5 hours This fun, project-based workshop starts with a brief introduction to the fundamental concepts of fused glass and a quick tutorial on glass cutting. Then, working with a wide palette of sheet glass colors and pre-designed part sheets, you’ll plan, cut, and assemble three kilnformed glass pendants. Your work will be fired and finished after class, and you can pick up your pendants—as well as a single sterling silver chain—3–4 days later. This course is recommended for beginners. No experience required. Design, Blast and Fire 8 students, 2.5 hours Learn the basics of sandblasting while designing and making a plate. You’ll start by creating (or choosing) a simple design, which you’ll cut out of a sandblast-resistant material that you apply to a glossy, fused glass blank. After sandblasting the design into the blank, you’ll set up it up to slump on a mold during an overnight firing, during which the glass will conform to the mold and the blasted areas will develop a semi-matte finish. Your finished plate will be available for pickup a few days after class. This class also qualifies you to do sandblasting in our Coldworking Open Studios. Current class offerings at bullseyeglass.com/classes 5 SKILL-BUILDING CLASSES Crash Course in Glass Cutting 8 students, 1.5 hours Learn or reinforce your basic glass cutting skills. You’ll build the skill and confidence needed for our Open Kilnforming Studio, other workshops where glass cutting experience is necessary, or for ongoing work in your own studio. This class is a great next step from First Glass Fusing Class or other introductory kilnforming workshops. All tools and materials included. Introduction to Pâte de Verre 8 students, 12 hours over 3 days Learn the basics of pâte de verre from start to finish while making a thin-walled, kilnformed bowl in this hands-on workshop. (The term literally means “paste of glass” in French.) Make a plaster silica mold from a model, pack it with glass, fire it, then divest and finish it. Students will have access to a broad palette of colored frit and samples to help predict and understand fired qualities. Demonstrations will include various techniques of working with glass powders against the mold, working with color reactions, as well as how to back-fill a packed mold to support the walls of the piece during firing.No prerequisites. Iridescent Effects 9 students, 9 hours over 2 days Learn to harness the glimmer and shimmer of Bullseye’s iridescent sheet glasses. Iridescent Effects provides hands-on experience with a multitude of techniques: clear powder application, irid patchwork, sandblasting, kilncarving, and photo resist film. You’ll study an extensive collection of samples and finished works, and then explore the possibilities as you make your own set of 6 finished tiles. This class also qualifies you to do sandblasting in our Coldworking Open Studios. Prerequisites: Basic glass cutting skills and kilnforming experience. 6 KILNFORMING TECHNIQUES Kilnformed Pattern Bars 8 students, 19.5 hours over 4 days The pattern bar is a special method that allows for creating unique and complex designs in kilnformed glass. In this workshop, you will learn to use glass flow and multiple firings to break away from the flatness of sheet glass and into the realm of dimensional, organic patterning. You will design and make pattern bars, cut them with a wet saw, fuse them into blanks, and do some basic coldworking. You will ultimately leave class with three unique plates. Prerequisites: Basic glass cutting skills and kilnforming experience. The Color Lab: Mixing Powders 10 students, 16 hours over 3 days Even when working with the largest palette of tested-compatible colored glass available, you may find yourself seeking a color that isn’t available as an “off-the-shelf” option in the Bullseye line. As a student in The Color Lab: Mixing Powders, you will develop a system to zero-in on specific colors and greatly expand your ability to understand and use the palette. Through demonstrations, discussion, and ample hands-on lab time, you will make as many as 150 samples with an enormous range of Bullseye powders at your disposal. Design for Drop-Out Vessels 8 students, 18 hours over 3 days A drop-out vessel is created by slumping a piece of glass through an elevated mold with a hole in the center.
Recommended publications
  • Bullseye Glass Co. / Classes & Special Events

    Bullseye Glass Co. / Classes & Special Events

    Bullseye Glass Co. | Classes & Special Events May to September 2012 • Emeryville, California From the Director Artist Klaus Moje at Resource Center Portland, 2007. What is Kiln-Glass? In 1974 three self-described “hippie glassblowers” started Bullseye Glass Company, a small factory for making specialty sheet glass in Portland, Oregon. While they initially focused on making colored sheets for use in stained glass, they aspired to do what had never been done before: to produce a palette of colored glasses tested to be compatible for fusing with one another for producing works in the kiln. By 1979 they had succeeded, but immediately ran into a challenge: they had created something remarkable for which almost no demand existed. Ever the innovators, they decided to embark on a long-term program of research projects working directly with artists to help pioneer and expand the technical, aesthetic and conceptual development of the field that is today known as kiln-glass. Kiln-glass is a term that describes an enormous range of techniques and outcomes that are radically more accessible than many other working methods, such as glassblowing, in which one must first develop basic physical skills for years before being able to effectively realize well-executed works. By contrast, many of the skills required for kiln-glass are things that most artists already possess: an understanding of design, composition, color theory, and the ability to conceive of layers of process and material application. And while kiln-glass does require basic knowledge of technical issues and nuances, these are readily obtained in short order through publications and curriculum that have been developed as an outgrowth of Bullseye’s years of collaboration with artists.
  • FUSED GLASS PLAID PLATE Free Fused Glass Project

    FUSED GLASS PLAID PLATE Free Fused Glass Project

    Come Join Us! FUSED GLASS PLAID PLATE Free Fused Glass Project #551 Materials List: Materials List for COE 90 or COE 96 COE 90 Item# 90905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 90915 Qty 1 Clear Sheet Glass 8 x 8 Item# 90906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 90945 Qty 1 Green Sheet Glass 8 x 8 Item# 90902 Qty 1 Light Turquoise Sheet Glass 8 x 8 COE 96 Item# 96905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 96915 Qty 1 Clear Sheet Glass 8 x 8 Item# 96906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 96945 Qty 1 Green Sheet Glass 8 x 8 Item# 96902 Qty 1 Light Turquoise Sheet Glass 8 x 8 FUSING SUPPLIES: Other Items: Item# 41513 Bullseye Shelf Paper 1 square foot or Item# 41514 Papyros Shelf Paper 1 square foot Item# 41232 Mold Curved Square (This project will work other square molds and look wonderful so do not limit yourself to just one mold.) Item# 41507 Fuser's Glue Other Materials: · Cold Polishing - (one of the following) · Grinder · Abrasive Stone · Diamond Nail File · 3M™ Diamond Coated Sanding Sponges Clean Up Supplies: · Rubbing Alcohol, Dish Washing Detergent · Cloth with very little lint (old T-shirt) Step 1 - Preparation · Grind to round each of the 4 corners of the larger square used as the base piece of glass.
  • The Investigation Into the Development of Glass As an Expressive Medium in China Through Direct Contact with Western Methods of Making, Decoration and Forming

    The Investigation Into the Development of Glass As an Expressive Medium in China Through Direct Contact with Western Methods of Making, Decoration and Forming

    The investigation into the development of glass as an expressive medium in China through direct contact with Western methods of making, decoration and forming. By XUE LU (Shelly) MA. BA (Hons) A thesis submitted in partial fulfilment of the requirement of the University of Wolverhampton for the Degree of Doctor of Philosophy 2009 This work or any part thereof has not previously been presented in any form to the University or to any other body whether for the purpose of assessment, publications or for any other purpose (unless previously indicated). Save for any express acknowledgements, references and/or bibliographies cited in the work, I confirm that the intellectual content of the work is the result of my own effects and of no other person. The right of XUE LU to be identified as author of this work is asserted in accordance with ss.77 and 78 of the copyright, Design and Patents Act 1988. At this date copyright is owned by the author. Signature: …………………. Date: ………………………. Abstract 2 Abstract This thesis is an investigation into the development of glass as an expressive medium in China through direct contact with Western methods of making, decoration and forming glass. The investigation proceeds through an analysis of the parallels between glass objects produced from Kangxi (1662-1722) to Qianlong period (1736-96), and contemporary practitioners’ (2000-2009), which is complemented by my own practice. The investigation mainly looks at three aspects and their inter-relationship within these strands. They are: 1) the history of glassmaking from 1696 to 1795 in the Qing dynasty with Western influences; 2) the analysis of Contemporary Chinese studio/academic glass within the imported UK model; 3) the development of my personal glass practice within this matrix.
  • Bullseye Glass Catalog

    Bullseye Glass Catalog

    CATALOG BULLSEYE GLASS For Art and Architecture IMPOSSIBLE THINGS The best distinction between art and craft • A quilt of color onto which children have that I’ve ever heard came from artist John “stitched” their stories of plants and Torreano at a panel discussion I attended a animals (page 5) few years ago: • A 500-year-old street in Spain that “Craft is what we know; art is what we don’t suddenly disappears and then reappears know. Craft is knowledge; art is mystery.” in a gallery in Portland, Oregon (page 10) (Or something like that—John was talking • The infinite stories of seamstresses faster than I could write). preserved in cast-glass ghosts (page 25) The craft of glass involves a lifetime of • A tapestry of crystalline glass particles learning, but the stories that arise from that floating in space, as ethereal as the craft are what propel us into the unknown. shadows it casts (page 28) At Bullseye, the unknown and oftentimes • A magic carpet of millions of particles of alchemical aspects of glass continually push crushed glass with the artists footprints us into new territory: to powders, to strikers, fired into eternity (page 31) to reactive glasses, to developing methods • A gravity-defying vortex of glass finding like the vitrigraph and flow techniques. its way across the Pacific Ocean to Similarly, we're drawn to artists who captivate Emerge jurors (and land on the tell their stories in glass based on their cover of this catalog) exceptional skills, but even more on their We hope this catalog does more than point boundless imaginations.
  • Download New Glass Review 21

    Download New Glass Review 21

    NewG lass The Corning Museum of Glass NewGlass Review 21 The Corning Museum of Glass Corning, New York 2000 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dass sie in- the 1999 calendar year. nerhalb des Kalenderjahres 1999 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Review konnen angefordert werden bei: The Corning Museum of Glass Buying Office One Corning Glass Center Corning, New York 14830-2253 Telephone: (607) 974-6479 Fax: (607) 974-7365 E-mail: [email protected] All rights reserved, 2000 Alle Rechte vorbehalten, 2000 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-147-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81-641214 Table of Contents/In halt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 16 1999 in Review/Ruckblick auf 1999 36 Bibliography/Bibliografie 44 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 73 Jury Statements Here is 2000, and where is art? Hier ist das Jahr 2000, und wo ist die Kunst? Although more people believe they make art than ever before, it is a Obwohl mehr Menschen als je zuvor glauben, sie machen Kunst, "definitionless" word about which a lot of people disagree.
  • Understanding Firing Schedules

    Understanding Firing Schedules

    Understanding Firing Schedules Learn about the components of a glass fi ring schedule so you can create your own schedule for any project you want to try. BASICS – Ramp - Temperature - Hold HEATWORK – Time/Temperature Tango. COE – how it aff ects fi ring schedules. VISCOSITY – how it aff ects fi ring schedules. THICKNESS– how it aff ects fi ring schedules PREDICTION - ending accidents. ANNEALING – how and why EVENIVITY– the magic word. VOLUME CONTROL SPECIAL SCHEDULES for special eff ects. My Personal Promise The temperatures and times I refer to here for fi ring schedules are not guesswork and are not copied from comments of others. There are the result of 40 years working as a glass artisan and over 20,000 kiln fi rings. I made it a point to do comparison tests to rigid standard. Some of those tests are included in chapters here. Dennis Brady Glass Campus Publishing Understanding Firing Schedules CONTENTS CONTENTS Cover ……………………. 1 Slump ………………………21, 22 Index …………………….. 2 Drops ………………………23 Introduction …………….. 3 Fuse ………………………..24 Attitude ………………….. 4 Casting …………………….25 COE ………………………..5, 6 Heatwork …………………..26, 27 Viscosity …………………...7 Evenivity …………………...28, 29, 30 Compatibility ………………8, 9 Adapting Schedules ………31, 32 Definitions …………………10 Special Schedules ………. 33, 34, 35 Ramp ……………………...11, 12, 13 Creating Schedules ……….36 Hold ………………………..14 Volume Control ……………37, 38 Temperature ………………15, 16 Question Everything ……...39, 40, 41 Anneal …………………… 17, 18 Keep Records ……………..42 Drape ………………………19, 20 2 Understanding Firing Schedules Introduction What happens to glass when fired in a kiln depends directly on the firing schedule. When you first learn to fuse and cast glass, you start by using firing schedules created by others.
  • Glass News 19

    Glass News 19

    Glass of the Roman Empire and Elsewhere Glass A celebration of the contribution of Jennifer Price to the study of archaeological glass th th News Tuesday and Wednesday 14 and 15 March 2006 10.00-16.30 at The Wallace Collection, Manchester Square, Number 19 January 2006 London W1 Published by THE ASSOCIATION FOR THE HISTORY OF GLASS LIMITED This meeting on archaeological glass will include Reg’d Charity: 275236 ISSN 1362-5195 major contributions from David Whitehouse, Yael www.historyofglass.org.uk Israeli, Marie-Dominique Nenna, Marianne Stern, Hilary Cool and Ian Freestone as well as many other speakers. Offers of papers to fill the few remaining IN THIS ISSUE spaces in the programme should be sent as soon as possible to Ian Freestone: School of History and Page 1. AIHV Congress 2006, Meeting: Glass of the Archaeology, Cardiff University, Humanities Roman Empire and Elsewhere Building, Colum Drive, Cardiff CF10 3EU Page 2. The International Festival of Glass and Email: [email protected] British Glass Bienale 2006, 8th ESG Conference on Glass Science and Meeting fee: £40 for AHG members, £45 for non- Technology, CRAFTS 2007 International members, £20 for students, to include tea/coffee each Conference, AHG Bursaries day and a wine reception on the Tuesday evening. Page 3. Glass Collaboration Workshops, Roman Glass Furnace Project 2006, Stained Glass Further details will be available later in January from Weekend, Exhibitions at The Corning the AHG Meetings Secretary, Martine Newby: Page 4. Cylinder Glass for restoring the pinery at Garden Flat, 68 Goldhurst Terrace, Tatton Park, Study Day at the Fitzwilliam London NW6 3HT Museum: Review and abstracts Email: [email protected] Page 7.
  • Tips for Thin Castings

    Tips for Thin Castings

    REUSABLE MOLDS FOR GLASS CASTING First some background: There is a Many of these molds have built-in force called “surface tension.” Sur- slumpers to add “life” to the final face tension causes any liquid to piece. A slumping schedule is also “bead up.” (An everyday example included. is the way rain drops bead up on a car’s hood.) If glass is hot enough, COE 96 Firing Schedule it will bead up, pull away from the Seg 1! 300˚F/hour to 1350- mold’s edges, and thicken. 1375˚F, Hold 10 minutes Here are the secrets to thin cast- Seg 2! AFAP (As Fast As Possi - ings with fine details: ble) to 960˚F no vent- ing. Hold 30 minutes Tips for Thin Castings ✓Use the Thin Fire fill weighs Seg 3! Off, cool kiln, no vent - As people become more experi- that can be found in “Fill enced with our molds, they start ing Weights at a Glance.” This wanting thinner and more deli- cate castings. Let us pass along lower fill weight is usually about these hints and advice to achieve two-thirds to half the fill weight COE 90 Firing Schedule that goal. shown on the packaging. One can add more or less frit to cus- Seg 1!300˚F/hour to 1375- nnn tomize the casting size. 1400˚F, Hold 10 minutes Seg 2!AFAP (As Fast As Pos - Use fine frit. It requires less ✓ sible) to 960˚F no vent- Many of our newer designs look heat work to conform the ing. Hold 30 minutes best when cast very thin.
  • CASE 11 American Studio Glass Shelf 1 #1

    CASE 11 American Studio Glass Shelf 1 #1

    CASE 11 American Studio Glass Shelf 1 #1. 1984.115 Stephen Matt Orange Lattice Off-hand worked Funds provided Dee Physalia, 1984 glass, cane work, by Susan and Edwards, sandblasted, acid- Raymond J. American, etched, glass powders Hage Memorial b. 1954 Endowment Fund for Acquisitions #2. 1980.135 Michael Beano 1, 1980 Green blown glass, Funds provided Glancy, sandblast carving, by Collector's American, polish and texture with Corner, HMA’s b. 1950 hydrofluoric acid, museum store electroformed copper, patina #3. 1976.49 Joel Philip Vessel, 1976 Black and white Gift of Joel Myers, From the New blown glass cased in Philip Myers American, American Glass: colorless glass b. 1934 Focus West Seneca Virginia, Artist in Glass Co. the Factory Project, 1976 #4. 1976.47 Joel Philip Untitled Off-hand blown glass Gift of Joel Myers, Phillip Myers American, b. 1934 #5. 1991.75 Minnie Black Bear Vase, Cameo glass, mold- Gift of The Adkins, 1991 blown, cased glass in Pilgrim Glass American, cranberry/white Corp. b. 1934 opal/black/crystal/slate The Pilgrim green Glass Corp. #6. 1986.24 Richard Faun, 1985 Colorless off-hand Museum Jolley, blown glass, direct purchase American, drawing, etched b. 1952 CASE 11 - Page 1 Shelf 2 #7. 1995.12 David The Glass Blowing Enamel painting on Gift of The Hopper, Process, 1995 blown, cased glass Pilgrim Glass American, Corp. b. 1946 The Pilgrim Glass Corp. #8. 1986.88.1 Michael Twin Silos, 1985 Cast glass Gift of Ms. Rogers, Takako Sano American, b. 1955 #9. 1981.57 Roberto Seated Figure, ca. Off-hand blown and Gift of Mr.
  • UNLV Continuing Education Spring 2019 Glass Classes

    UNLV Continuing Education Spring 2019 Glass Classes

    SPRING 2019 GLASS BLOWING & FUSION Glass Blowing: Introduction Glass Fusion Experience UNLV Continuing Manipulate molten glass using the Try the art of glass fusing as you craft Education is excited to blowpipe and related techniques a beautiful 8 inch bowl or a set of four work with Barbara and including blowing, jacking, blocking, 4x4 inch coasters. Instructors guide shaping, transferring, and finishing. participants through the process start Larry Domsky of Domsky Class time is divided between lecture to finish, teaching cutting techniques, Glass Studio to offer these and individual hands-on instruction. glass choices, project assembly, and unique glass art courses. Instructors will provide guidance, fusing options. All materials, tools, and Domsky Glass is located at troubleshooting, and resources to aid safety wear are provided. in the furthering of your glassblowing Sa | Feb 16 | 11am-1pm | $125 2758 S. Highland Drive in education. Topics include: studio Domsky Glass | 191AR1174A Las Vegas. safety and etiquette; introduction to Sa | Jun 9 | 11am-1pm | $125 tools and equipment; furnace and Domsky Glass | 192AR1174A gathering procedures; safe glass handling; solid working techniques Glass Fusion: Introduction Glass Blowing Experience (paperweights and other forms); Work with Bullseye Glass in sheet Experience the art of glass blowing in introduction of the bubble (blowing); form, as well frit, to create an 18 inch a small group setting. After covering and vessel making. Students will need glass bowl. In this introduction to glass safety rules for the studio equipment to pay $400 for materials at the first fusing, you will practice with basic and tools, you will get to work creating class session.
  • For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2019

    For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2019

    For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2019 $7.00 U.S. $8.00 Canada Volume 34 Number 3 www.GlassArtMagazine.com KilnMaster Touchscreen Programming just got really cool! • Built-in Wifi and Free App • Write and Name Your Own Programs • Remote Monitoring • Help Screens for Every Feature • Navigates like your Smartphone • Graphing • Hinged Controller for Perfect Angle • Logging • Built-in Library of Programs • Improved Diagnostics ...and so much more skutt.com/kmtwww.Skutt.com/kmt Touchscreen ControllerV3.indd 1 8/16/18 8:09 AM May/June 2019 Volume 34, Number 3 6 Independent Artist From Wind and Water to Pâtisserie The Evolution of Shayna Leib’s Sculpture by Shawn Waggoner 14 Hot Glass Studio Profile Cheyenne Malcolm’s Personal Retrospective The Artist Behind Canned Heat Glass Studios by Shawn Waggoner 20 Functional Glass Nick Deviley The Glassroots Art Show Moves to Asheville by Shawn Waggoner 26 Personal Development Creativity—Using the Rhythm and Harmony of Multiples by Milon Townsend 29 What's New 30 Winning Glass Contemporary Glass Initiatives from The Corning Museum of Glass by Kimberly Thompson 34 GAS News GAS + British Glass Biennale New Partnership and Award Supports Worldwide Innovation and Collaboration by Tess McShane for the Glass Art Society 36 Warm Glass Studio Profile Vitrum Studio’s Judith Finn Conway and Kevin O’Toole Educating a New Generation of Kiln Forming Artists by Shawn Waggoner On the cover: Shayna Leib, 6 species. Photo by Eric Tadsen www.GlassArtMagazine.com Glass Art TM • May/June
  • Voices of Contemporary Glass: the Heineman Collection Illustrated Checklist of Objects in the Exhibition

    Voices of Contemporary Glass: the Heineman Collection Illustrated Checklist of Objects in the Exhibition

    Voices of Contemporary Glass: The Heineman Collection Illustrated Checklist of Objects in the Exhibition 1. Peter S. Aldridge (British, b. 1947) Astrolabe Peter S. Aldridge (British, b. 1947) United States, Corning, New York, 1993 Mold-melted optical lead glass, ground, polished, bonded; precision-machined aluminum H. 152.3 cm, W. 74.5 cm, D. 78.5 cm 2007.4.132, gift of the Ben W. Heineman Sr. Family 2. Tina Aufiero (American, b. 1959) Untitled Tina Aufiero (American, b. 1959) United States, New York, New York, 1984–1985 Kiln-formed glass, colored glass powders H. 25.1 cm, W. 18 cm, D. 9.5 cm 2007.4.133, gift of the Ben W. Heineman Sr. Family Modern Man Tina Aufiero (American, b. 1959) United States, New York, New York, 1988 Kiln-formed glass H. 25.5 cm, W. 21 cm, D. 9 cm 2006.4.76, gift of the Ben W. Heineman Sr. Family 3. Howard Ben Tré (American, b. 1949) Cast Form Type VI Howard Ben Tré (American, b. 1949) United States, Providence, Rhode Island, 1979 Cast glass, added colored glass H. 8.8 cm, W. 11.7 cm, D. 7.5 cm 2006.4.17, gift of the Ben W. Heineman Sr. Family From Joe H. 2 Howard Ben Tré (American, b. 1949) United States, Providence, Rhode Island, 1980 Sand-cast glass, copper H. 19 cm, W. 53 cm, D. 23 cm 2006.4.19, gift of the Ben W. Heineman Sr. Family Dedicant 7 Howard Ben Tré (American, b. 1949) United States, Brooklyn, New York, and Providence, Rhode Island, 1987 Sand-cast glass, brass, lead, gold leaf, pigmented waxes H.