Collaborative Issue

Fall 2015 Collaborative

A glass journal for the flameworking community Issue

Tutorials by Goblin King Craig Lewis Wil Menzies Raj Singh Carmen Lozar Jeff White

$9.00 U.S. $10.00 Canada

Vol 13 Number 3 Lewis Wilson with his faithful Paragon F-130. This kiln now comes with an industrial mercury relay, 3” firebricks, slide-out mandrel holder, and sidewall elements. (See photo below.) You can order the F-130 in 120 or 240 volts. The 2” x 8” bead door includes two flexible gaskets. “If you are going to do serious work, you will need a Paragon oven” —Lewis Wilson Lewis Wilson is not a typical glass many times while working on large New slide-out mandrel holder artist. He lived in Morocco as a child, sculptures. My oven recovers heat very The F-130 now has an adjustable taught himself to eat fire and juggle by quickly. Thanks, Paragon.” mandrel holder. Adjust it horizontally age 11, and was part of the Apollo 12 UL and CSA standards and vertically without tools. ground medical crew during the second Paragon kilns are not just assem- New sloped control panel lunar landing. Forty-two years ago Lewis bled—they are hand crafted. And for The control panel is angled for easy made his first glass figurines with Bun- your safety, the F-130 and BlueBirds are viewing and operation of the digital con- sen burners in a medical lab. He taught tested by TUV to meet UL and CSA troller. himself from a library book. standards. Wide selection Lewis developed an early The new and improved Paragon offers the widest selection of relationship with Paragon F-130: mercury relay, 3” lampworking, glass fusing, and bead walls kilns. “My wife and I use three kilns in the industry. Call now or email The firebricks are 3” thick. different Paragon ovens,” us for a free catalog and the name of a This is 20% more insulation said Lewis. “My receiving local Paragon distributor. Sign up for than the standard 2 1/2” fire- oven is a very old Paragon ce- Paragon’s free Kiln Pointers email brick walls and bottom of our ramic oven that I bought used newsletter. earlier F-130 kilns. The extra 33 years ago. Barb uses a insulation enables the F-130 Constantly finding BlueBird XL for soft glass and to maintain a temperature ways to make small boro work. I use a Para- hold with greater ease. A de- better kilns. gon F-130 for my tabletop luxe mercury relay is now work oven.” standard. “The quality of your work is greatly Sidewall elements 2011 South Town East Blvd. influenced by the quality of your equip- The new F-130 has side elements Mesquite, Texas 75149-1122 ment,” added Lewis. “It is good to have mounted in dropped, recessed wall 800-876-4328 / 972-288-7557 an oven that was designed specifically grooves. You can still order the kiln with Toll Free Fax 888-222-6450 for my style of working. I go in and out top elements if you prefer. www.paragonweb.com [email protected] Publisher ~ Maureen James Editor ~ Jennifer Menzies Dear Readers, Founding Editor ~ Wil Menzies Each year when the fall issue rolls around, it’s time to take Copy Editor ~ Darlene Welch a look at collaborative glass art. This year is no exception, as Accounting ~ Rhonda Sewell once again The Flow brings you inspiration by showcasing Circulation Manager ~ Kathy Gentry collaborative work by many of the outstanding flameworking Advertising ~ Maureen James and hot glass artists of our time. There is something satisfying Graphic Artists ~ Dave Burnett about joining forces with a fellow artist, or even more than Mark Waterbury one, to develop new ideas that take glass to a higher level. Contributing Artists and Writers As Craig Lewis points out in the introduction to his tutorial, Erik Anders, Colleen Bryan “Working with a fellow artist to create a piece of art that Deborah Carlson, Freddy Faerron someone will love and cherish is one of the most rewarding Goblin King, Virginia Hilton aspects that the glass culture has to offer.” Arnold Howard, Sara Sally LaGrand In the past several years, collaborative work has gained popularity among col- Craig Lewis, Jennifer Menzies lectors. There’s little wonder in that, since working with a peer helps everyone involved to get their creative juices flowing as they bounce techniques off of each William Menzies, Raj Singh other, considering things that never occurred to them before. That’s bound to lead Staff of The Corning Museum of Glass to intriguing, captivating new designs that glass enthusiasts are eager to add to Darlene Welch, Jeff White their collections. ISSN 74470-28780 is published quarterly The lampworking community has proven, over and over again, that artists who by Glass Patterns Quarterly, Inc. share together grow together. One of the ways that The Flow is hoping to help you POSTMASTER: Send address grow as an artist is by partnering with sister publications, Glass Art and Glass changes to The Flow, Patterns Quarterly, to present Glass Expert Webinars™. You can learn from the P.O. Box 69, Westport, KY 40077 industry’s best instructors without leaving home. These two-hour seminars include Telephone: 800-719-0769 teacher demonstrations and technical videos and slide shows plus the opportunity 502-222-5631 to ask questions via “live chat.” Jason Harris, aka Jerome Baker, recently shared Facsimile: 502-222-4527 his techniques on “How to Make a Two-Part Pipe.” On September 29 and October 1, Website: www.theflowmagazine.com you can learn tips for “Flameworked Indian Dancers and the Human Form” with E-Mail: [email protected] Lewis Wilson. Then on October 20, check into “Marble Making and Boro Crit- Subscriptions: (4 issues) ters” with Josh Mazet. $28 for one year, Visit www.theflowmagazine.com and click on the “Glass Expert Webinars™” $52 for two years, $74 for three years, link for more information and dates, or to sign up for these and other Webinars. Kentucky residents, add 6% state You can also find DVDs of past Webinars for sale in the Store. Thanks for giv- sales tax. International Rate ing us the opportunity to help you improve your current flameworking skills and $48 one year, $87 two years, discover new ones. $124 three years. All subscriptions must be paid in U.S. dollars with As always . . . Keep your light shining and your torches lit! an international money order or with a check drawn on a U.S. bank. Periodicals Postage Paid at Westport, KY 40077 Jennifer Menzies and additional mailing offices. Editor Sample issues U.S. $9, International $13. ©2015 The Flow. Editor and staff assume no responsibility Figure by Robert Mickelsen for the claims of advertisers or their services, Marble by William “Boxfan” Menzies nor do we endorse any particular business. The articles reflect the views of the writer, not necessarily those of the magazine. Deadlines for Editorial Submission The Flow is not responsible for materials such as photographs and letters, and they will not be Spring 2016 Nature returned unless accompanied by a self-addressed, December 1, 2015 Submission Deadline stamped envelope. All material will be presumed to be for publishing and is subject to editing unless Summer 2016 Marbles and Paperweights otherwise indicated in writing. Submission Deadline March 1, 2016 The Flow urges its readers to proceed cautiously in If you are interested in becoming a contributing artist for The Flow, respect to technical information or visit www.theflowmagazine.com for a link to themes of upcoming step-by-step articles. Always take proper issues, author guidelines, and submission forms. safety precautions when working with glass.

The Flow/Fall 2015 3 The Flow/Fall 2015 Table of Contents Volume 13 Number 3 Flow

3 Letter from the Editor Degenerate Flame Off 7 6 Featuring collaborative work from the 2015 DFO

Dale Chihuly’s Brilliant Blue Glasswork at the 10 Chrysler Museum of Art by Virginia Hilton

The Toledo Museum of Art Guest Artist Programs Making Glass 12 Accessible by Colleen Bryan

Awarding Excellence in Glass Art 16 by Sara Sally LaGrand

Instructor Collaborative Residencies at The Studio of The Corning Museum of Glass 20 Sharing Research, Techniques, and Ideas by The Staff of The Corning Museum of Glass

Tips on Photographing Dichroic Glass 26 by Erik Anders

What’s Hot 28 Featuring the latest in innovative products for the flameworking enthusiast

Finger Pendant 30 Demonstration by Jeff White

Borosilicate Glass Fume Theory and a Brief History 34 of Precious Metal Uses in Glass by Freddy Faerron

Triple Tubule Tech 44 Demonstration by Raj Singh

The Last Art Glass Invitational 46 End of an Era by Deborah Carlson

Wig Wag Tiki Tube 51 Working with Fellow Artists Has Its Rewards Demonstration by Craig Lewis and Goblin King

Multilayered Patterned Marbles with Opal Placements 55 Demonstration by William “Boxfan” Menzies

Kiln Corner On the Cover Evaluating a Used Kiln Archer by Carmen Lozar. 60 Photo Courtesy of by Arnold Howard The Corning Museum of Glass. Advertisers’ Index Table of Contents 62 Marbles by Freddy Faerron. Photo by Ben Ramsey.

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The Flow/Fall 2015 5 Off 7 Flame Degenerate

Buck Cowboy

he Degenerative Flame Off 7 (DFO) was hosted June 19–21, 2015, by TCornerstone Glass Studios. This glassblowing festival is centered around the Flame Off, with artists, shops, supply companies, and others from the glass art industry setting up booths at Cornerstone. The focus, however, is not on sales but rather on sharing the love of glass.

Team Glass Rivers

Bob Snodgrass

Artist Photos by John R Higby

Artwork Photos by Wind Home Photography

6 The Flow/Fall 2015 Kimmo Matty White

Jessica Boggs

Robin Hood

Team Hood Sagan Justin Jenicke

For the first time ever, the main event was a team competition. Seven teams of two artists each were made up of one past DFO winner and a teammate of that artist’s choice. They were given ten hours to imagine and create the best functional pieces possible. At the finish, three awards were presented, with the People’s Choice Award going to Robin Hood & Sagan for their Satellite and the Creative and Technical Awards both going to Team Glass Rivers, Buck and Cowboy, for their Saber-toothed Chainsaw. Matty White & ICK.E, Steve Bates & Worm, Elbo & Joey P, Hamm & C$, and Burtoni & Akm formed the remaining five teams. Visit www.cornerstoneglass.com for more information on this and past DFO events. Sagan

The Flow/Fall 2015 7 Hamm

LaceFace

Team Matt-Ick-Ulous

Team Waterworks

Flow www.cornerstoneglass.com

8 The Flow/Fall 2015 LEARN FROM THE BEST. ONLINE, ANYTIME.

Connect with world-class artists and learn some of the techniques they’re best known for with Glasscraft Webinars. Our unique digital format lets you watch the webinars live with the artist or via pay-per-view recording anytime.

Sign-up for our newsletter: www.glasscraftinc.com

WATCH ANYTIME Dellene Peralta • Preston Hanna Big Z • Suellen Fowler • Eusheen • Salt Mr. Gray • Matt Eskuche • Banjo

The Flow/Fall 2015 9 DaleDale Chihuly’sChihuly’s BrilliantBrilliant BlueBlue GlassworkGlasswork atat thethe ChryslerChrysler MuseumMuseum ofof ArtArt

by Virginia Hilton

Photography by Ed Pollard, Chrysler Museum of Art

ale Chihuly links his early love of glass to his childhood marble collection. Chihuly is credited with revolutionizing Dthe Studio Glass movement and elevating the perception of the glass medium from the realm of craft to fine art. He is renowned for his ambitious architectural installations around the world in historic cities, museums, and gardens. The artist’s work is included in more than 200 museum collections worldwide, including the Metropolitan Museum of Art in New York City, the Smithsonian American Art Museum in Washington, D.C., and The Corning Museum of Glass. The Chrysler Museum in Norfolk, Virginia, houses an extensive glass collection that includes one of Chihuly’s acclaimed Venetian series sculptures from his 1990 collaboration with master Italian glassblower Lino Tagliapietra. His work also served as a keystone exhibition in 1999 in Art of Glass, a celebration of the medium across the Hampton Roads region.

Chihuly in the Garden The artist’s most recent exhibition, Chihuly in the Garden, was on view from mid April through June 7, 2015, at the Chrys- ler, where the scintillating splendor of his artistry came alive. A hundred of his vibrant glass Reeds and Marlins shone in the sunlight from within the museum’s waterfront view. Nighttime illumination showed the blue works in glass in a different, more dramatic light. This special outdoor installation paid tribute to Norfolk’s natural and nautical beauty. “Museums rarely have opportunities to show glass outside the confines of the galleries. It was with great excitement that we were able to bring to the public the genius of Dale Chihuly’s artworks in our Memorial Garden,” shared Diane C. Wright, Chrysler’s Carolyn and Richard Barry Curator of Glass. Chihuly in the Garden, organized in cooperation with Chi- huly Studio in Seattle, Washington, was part of a collaborative Chihuly celebration between three premier arts organizations based in Norfolk. Works by the artist were featured onstage as the Chrysler Museum of Art partnered with the Virginia Arts Festival and the Virginia Symphony Orchestra for a special production of Béla Bartók’s opera, Bluebeard’s Castle. The artist designed six beautiful sculptures specifically for the moody musical drama in 2009. These breathtaking, 14-foot-tall sets convey the psychological and emotional drama of this operatic tale, a one-act spectacle of sight and sound. Dale Chihuly, Blue Marlins and Turquoise Reeds, 2015. This whimsical outdoor exhibition pays tribute to Norfolk’s natural and nautical beauty.

10 The Flow/Fall 2015 Connecting with the Community through Glass Art The recently expanded Chrysler Museum of Art is one of Amer- ica’s most distinguished midsized art museums, with a nationally recognized collection of more than 30,000 objects, including one of the great glass collections in the United States. The core of this collection was given to the museum in 1971 by Walter P. Chrysler, Jr., an avid art collector who donated thousands of objects from his private collection. In the years since Chrysler’s death, the museum has dramatically extended its campus and developed new ties to the Norfolk community, especially through its rapidly growing contemporary glass, American art, and photography programs. In 2011, the museum also opened a full-service glass studio with a 560-pound capacity furnace, a full hot shop, a flameworking studio, nine annealing ovens, and a cold working shop. The museum’s Glass Shop offers beginner, intermediate, and advanced skill levels of classes and workshops for glassblowing, fusing, flameworking, sculptural glass, sand casting, and cold working. The Studio’s after-hours program known as Third Thursday features exciting demonstrations by glassblowing artists accompanied by drinks, live music, and lots of fun. Private lessons, studio rentals, a mobile studio, and visiting artists also help to draw the community into the love of glass. Visit Chrysler’s website if you’re interested in taking advantage of the Glass Studio’s many programs. Flow www.chrysler.org

The Flow/Fall 2015 11 The Toledo Museum of Art Guest Artist Programs Making Glass Accessible

by Colleen Bryan

he continuing legacy of the Toledo Museum of Art (TMA) is one of integrating art Tinto the lives of people. The Museum’s Glass Pavilion strives to extend that mission further by making glass an accessible medium for the visual artist. Before 1962, an artist who wanted to work with glass had to pierce layers of bu- reaucracy to get to a craftsperson who might have the skills to execute a design. There was a lot of luck involved. Danny White, artist in residence at TMA. Even for those who succeeded, there was typically indirect contact between the artist and the glass craftspeople. Harvey Littleton’s workshop in 1962 sparked the Studio Glass movement in which the designer became the craftsperson. The guest artist and residency programs at the Toledo Art Museum are attempting to bridge the two historical models of glassworking—factory worker and studio artist—in yet another and newly exciting way. Wilken Skurk, artist in residence at TMA. Guest Artist Pavilion Project The Toledo Museum of Art has established an endowed guest artist program at the Glass Pavilion. Known as the Guest Art Pavilion Program (GAPP), it is specifically designed to encourage artists to reside on-site at the Toledo Museum of Art for at least two to four weeks and to research or respond to the museum’s collection and resources in an exploration using glass. The program advances the educational mission of the museum while promoting greater dialogue between contemporary glass and John Hogan, artist in art communities. Part of the structure of the residency program is to alternate experienced residence at TMA. glass artists who want to explore their native medium further while using the resources of the museum with accomplished visual artists for whom glass is an unfamiliar medium. Jeff Mack, studio manager at the Toledo Museum of Art, shares: “We can get significant artists from other media in here and help them produce their works in glass without their having to spend a long time learning to work directly with glass. That has become a core attraction of the residency program. The artists work with our studio team to realize their artistic visions. “Our program is developing a reputation as one of the few places where nonglass artists can come into a research center to study and gain experience working with glass. We work a lot with professional artists who are interested in researching how glass can be used to express their own work.”

Laura Donefer working with Toledo Museum of Art glass staff during her GAPP artist residency.

12 The Flow/Fall 2015 Recent Resident Artist Highlights Program’s Potential One recent GAPP resident artist provides an example of the GAPP in operation. Pinaree Sanpitak, a multimedia artist from Thailand, has worked with glass artists in Murano, Italy, at other studios in the United States, and in Thailand. Sanpitak wanted to explore the theme of the body’s absence in the aftermath of the 2011 Thailand flood. She created her Hanging by a Thread work featuring hammocks made of different materials as a commentary on the tragedy. Her residency at the Glass Pavilion offered Sanpitak an opportunity to explore that idea using glass as the medium, even though it is not easily available to her. The hot shop team at the Toledo Museum Glass Pavilion worked with Sanpitak to develop a module that would form the basis for her art installation. They made two-by-three inch ovoids, thick glass beads that could be woven into a hammock and suspended. “We did all the glasswork to her specifications, and she developed Gianni Toso, artist in residence at TMA. the means of assembly. She visited for a week in the spring, we worked a lot remotely, and she returned in the fall to help us complete and install the hammock here on the campus of the museum.”

Amy Ritter, artist in residence at TMA.

Lino Tagliapietra, artist in residence at TMA.

For this residency, the artist was not interested in working directly with the glass at all. Her focus was on realizing a vision and having expert glassmakers help her make the material. Other artists may have a different preference and may want to come to the museum and experiment with the material directly. Katrina Hude, artist in Glass artists who are selected as GAPP residents may have a different residence at TMA. emphasis altogether. Many of them focus more directly on experimenta- tion and research in their chosen medium. Mack says the degree of glass expertise that artists bring and the way they want to make use of the Glass Pavilion’s resources runs the gamut of every possible glass art technique. The Flow/Fall 2015 13 Selecting Artists Residencies are awarded primarily by invitation. However, the program is expanding to include more residencies that are selected through a proposal and jury process. Mack encourages both glass artists and artists who do not work in glass alike to keep an eye out for more details and juried residencies on the museum’s website. During the several years of the program’s operation, the museum has hosted dozens of artists from all parts of the world, “We want their time here in Toledo to be an exchange where they share with our community in addition to accessing our resources to further their artwork.

Glass Fabrication Service for Artists Another aspect of The Glass Pavilion’s outreach to artists is its developing ability to provide support to artists outside the residency programs. “More and more artists ask us to produce components for sculptures, modular objects, or pieces for installations. They come to us as a studio Leana Quade (seated) with Jeff Mack that can help them realize their visions in glass. That facet of the program in the Glass Pavilion Hot Shop. holds a great deal of potential.” The museum wants to also encourage educational experiences for the Toledo community providing exposure to new and specialized ways of working in the material. “We can use our resources as an opportunity to research new ideas and try something different.” In all the ways that artists enrich every community of which they are a part, the visiting artists of the Toledo Museum of Art’s Glass Pavilion leave that community a little richer for having spent some time there. Flow www.toledomuseum.org/glass-pavilion

A 1962 workshop with a student, Harvey K. Littleton (center), and Harvey Leafgreen (right).

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The Flow/Fall 2015 15 AwardingAwarding ExcellenceExcellence inin GlassGlass ArtArt

by Sara Sally LaGrand

ach year, the Glass Art Society (GAS) honors outstanding achievements for exceptional work in the field of glass art and Efor outstanding service to GAS. In June 2015, Paul Stankard was awarded the first honor at this years’ conference in San Jose, Cali- fornia. Mary B. White received the award for service.

An Award of Gratitude Stankard was not able to attend the conference and asked fellow Beyond the beauty of Stankard’s work and the mystery of the artist and past recipient Shane Fero to accept the 2015 Lifetime layers of form and color, the community owes a huge debt of grati- Achievement Award in his stead, with Stankard’s longtime friend tude for the kind of nurturing he extends to other artists interested Jan Smith, executive director of the Bergstrom-Mahler Museum in careers in glass. Many students are fortunate to count him as one of Glass in Neenah, Wisconsin, delivering the introduction. Fero of their best supporters and mentors. He continues to teach, push, focused on the poetry of Stankard’s work and his earliest influences, critique, and celebrate an excellence in art making, often looking which included the work of James Joyce and Walt Whitman as well inward for a kind of divine inspiration and encouraging others to as the natural world. do the same. Fero and Stankard, who share an interest in poetry, both submitted pieces for the occasion. After the conference ended, Stankard mused that he hoped it didn’t lead people to believe he had one foot in the grave. To the contrary, he is still very actively adding to his body of work as well as working on a third book concerning the creative process with a working title of Craft as Career. He previously published his memoirs, No Green Leaves or Berries, and Spark the Creative Flame, an educational tool highlighting the work of his contemporaries.

Shane Fero accepting Paul Stankard’s Lifetime Achievement Award at the 44th annual Glass Art Society conference in San Jose, California.

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The Flow/Fall 2015 17 An Award of Volunteerism Mary B. White accepted the 2015 Lifetime Membership Award for service to GAS after an introduction by her friend Susan Amend, the first woman president of GAS and the organizer of the GAS LA conference in 1985. White ran the San Jose State University Glass Program for many years and was a committed educator/artist. Beyond her service to GAS as an organization, White’s work also focuses on the themes of home and environment. Strongly influenced by the concerns of her own neighborhood, her work calls attention to the plight of water conservation issues and habitat accessibility. Using recycled glass since the 1970s, White’s work is described by Amend as “constructing tenuous houses of glass that teeter on cobbled supports, poetically apt metaphors for the fragility of the home.” White’s GAS membership extends from the early 1970s and includes serving on the board as co-chair of the Oakland conference in 1994. She also helped organize two California Glass Exchange Symposiums in years when GAS was not hosting a conference in an effort to spur continued interest in glass as a material for artistic expression and to encourage attending GAS conferences in the future. White shared: “I sometimes just show up and help. I love supporting GAS as a wonderful flux and gathering point for the art glass community.” Flow Next year’s GAS Conference will be held in Corning, New York, June 9–11, 2016. Attendees will be able to experience the museum’s new Contemporary Art + Design wing. Visit www.glassart.org for more information.

Mary B. White

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The Flow/Fall 2015 19 Instructor Collaborative Residencies at The Studio Sharing Research, Techniques, and Ideas by The Staff of The Corning Museum of Glass Photos Courtesy of The Corning Museum of Glass Laura Donefer and Jeff Mack ach year, the Artist-in-Residence program of The Studio at The During the September 2012 residencies, The Studio hosted a Corning Museum of Glass in Corning, New York, brings art- collaborative study for Laura Donefer and Jeff Mack. Laura, a Eists from around the world to a place where they can explore new Canadian artist and traveling instructor who teaches regularly at aspects of the world of glass. These artists spend a month at The Pilchuck Glass School, Penland School of Crafts, and The Studio, Studio, investigating new directions in glass art or expanding on said that the only artist she wanted to work with was Jeff, who also their current bodies of work, while using the immense resources teaches courses at The Studio and is the studio manager at the Toledo of the world’s leading glass museum. At the end of the residency, Museum of Art Glass Pavilion. each artist gives a presentation about his or her work. This is a free The pair were eager to continue a collaboration born in 2010, event held in The Studio Lecture Room and is open to the public. when they began making experimental pieces together during In addition to the individual residencies, The Studio invites in- Laura’s residency at the Glass Pavilion. In September 2012, the art- structors who have taught intensive courses over the past five years ists and their four assistants used ten days in The Studio to refine the to apply for the Instructor Collaborative Residency. The chosen work made in Toledo, which they describe as “classically creative artists have access to The Studio facilities to create a collaborative contained chaos.” The pieces combined Jeff’s skill in executing body of work during these ten- to fourteen-day residencies held classical techniques with Laura’s eye for color and texture. The each September. These collaborative residencies build our artist resulting medium- and large-scale traditional vessel forms seemingly community and serve as a thank-you to instructors for teaching at float within textured clear glass on the perimeter of the vessel. This The Studio, according to director Amy Schwartz. surface was made by adding a large bit of glass to the exterior wall Collaborative residencies provide a venue where artists can of the vessel and pressing designs into the hot glass with special work together to research and test new techniques in their particu- tools such as gears, springs, and stamps, a technique that Laura lar mediums. They share ideas and sometimes calls “bizzling.” make their own individual work based on those The artists credit The Studio for ideas, but they often create glass art together as making life easier over the ten days they well. There are lots of opportunities to make spent working and experimenting with multiple pieces together and experiment with all glass. On top of having access to The kinds of designs. The following artists are just Studio’s tools, colors were mixed in the a few of the many who have taken advantage hot shop’s color pot furnace, and many of these residencies at Corning over the past other colors were ordered especially several years. for the residency. Not only were Jeff and Laura, like all of the other artists- in-residence, given the time, facilities, and materials to complete their work, but they were also provided with food, transportation, and room and board during their stay. Without much to worry about other than creating glass art, Jeff and Laura were able to maintain their go-with-the-flow attitude as they developed their work.

Laura Donefer and Jeff Mack

20 The Flow/Fall 2015 Anna Boothe and Nancy Cohen In their September 2012 Instructor Collaborative Resi- dency, Anna Boothe and Nancy Cohen worked together to create a wall installation piece inspired by 14th through 19th century Tibetan Buddhist Thangka paintings. They first met in 2002 when Cohen commissioned Boothe to fabricate one of her sculptures, Wheel Chair, in cast glass. For their collaborative piece, On the Way to Recognition, the artists reinterpreted the symbolism in the paintings in a work that reflects the organizational structure and palette of the paintings as well as the sense of expansiveness and lack of hard resolution characteristic of Buddhist ideology. They each chose symbols and translated them into three- dimensional forms, creating a visual reinterpretation of the paintings. For this innovative work, Boothe and Cohen used an astounding range of glass processes including kiln casting, slumping, fusing, blowing, hot sculpting and sand-casting. Their collaborative residency led to an exhibition, Between Seeing and Knowing, at the Accola Griefen Gallery in New York City the following year.

Jennifer Umphress, Carmen Lozar, and Amy Rueffert Three well-know flameworking artists—Jennifer Um- phress, Carmen Lozar, and Amy Rieffert—combined their talents for one of the September 2013 Instructor Residen- Anna Boothe cies to explore various flameworking techniques. Jennifer often draws inspiration for her work from her environment, especially the ocean, and she is most intrigued by capturing movement. Working alongside the other artists, Jennifer in- vestigated the technical aspects of flameworking, with a focus on surface design and color and an emphasis on developing a conceptual narrative for her work.

Jennifer Umphress

The Flow/Fall 2015 21 Carmen Lozar

Carmen Lozar’s art often deals in the representation of a nar- Drawing on inspiration from Umphress and Lozar, Amy Ruef- rative as she works in glass to shape a story for the viewer to read fert sought to develop new concepts as she focused on techniques in three dimensions. “In the same way that illustrations may ac- for incorporating low-fire decals for ceramics and borosilicate company the story of Little Red Riding Hood, my small sculptures glass. “I want to be immersed in an environment with experienced will create their own visual anecdote,” says Lozar. During the 2013 flameworkers to watch them work, continue to develop skill, and residency, she completed a series of small, simple scenes in glass, find my voice within the material,” says Rueffert. working collaboratively with Amy and Jennifer for support and creative exchange.

Amy Rueffert

22 The Flow/Fall 2015 The Flow/Fall 2015 23 Jon Chapman and Lance Friedman Moshe Bursuker and Jamie Harris Jon Chapman and Lance Friedman were also selected to partici- The Instructor Collaborative Residency for 2014 saw two groups pate in the 2013 collaborative residencies. Chapman holds a BFA in of artists exploring new hot glass techniques. The first was a col- glass and glass sculpture from the School for American Crafts at the laboration between Moshe Bursuker, a New York–based artist who Rochester Institute of Technology in New York and a degree in glass incorporates photography and glass into his sculptures and installa- from the Halliburton School of the Arts at Sir Fleming College in tions, and Jamie Harris, a glass artist and designer from New York Ontario, Canada. His glass art draws upon the similarities between City who finds inspiration in abstract expressionist paintings. Harris mechanical processes and human emotion in his work. is particularly interested in color and pattern. Friedman is an independent mixed-media artist who has trav- During their residency, Bursuker and Harris wanted to create a eled extensively, teaching and demonstrating internationally. He chandelier that blended their mutual interests in lighting and design. has also served on the Glass Art Society Board of Directors since They both enjoy blowing glass as well as casting and cold working, 2010. These two artists had wanted to collaborate since the time and this was a project that would incorporate those techniques. that Chapman was Friedman’s teaching assistant for a mixed media Harris said their inspiration was a Venetian chandelier with mul- course at The Studio years ago. The pair spent their collaborative tiple components such as the arms, cups, and bowls. “Our goal was time looking into the relationship of the outside form of glass to the to reinterpret and deconstruct it into a very modernist, contemporary internal phenomena and movements within the material. version. One of the wonderful aspects of a residency like this is to have the freedom to try out ideas that turn out to be dead ends, and we spent a number of days experimenting before we finalized the direction in which we wanted to take our chandelier.” “We achieved our goals and more,” said Bursuker. “The Studio’s resourses helped us to work out both technical and aesthetic issues. We were forced to make fast and decisive choices in our design and fabrication. It was an incredible experience to see these pieces come to life in such a short amount of time.”

Sayaka Suzuki, Boyd Sugiki, and Lisa Zerkowitz Toward the end of September 2014, three additional artists collaborated to explore uncharted territory, combining hot and warm glass while expanding on familiar techniques and experimenting with new ones. Sayaka Suzuki, Boyd Sugiki, and Lisa Zerkowitz each had different things they were working on, but they collaborated to combine techniques, such as taking a casting to the hot shop, to see what happened. Sayaka Suzuki creates primarily in cast glass and pâte de verre. Originally from Japan, her current work is inspired by her multicultural identity. She worked in collaboration with Boyd Sugiki and Lisa Zerkowitz, a husband-and-wife team who met during their time at Rhode Island School of Design and who now run Two Tone Studios in Seattle, Washington. They decorate objects and tabletop items, blending Sugiki’s love of color and glassblowing with Zerkowitz’s passion for drawing and kiln casting. “Coming to The Studio is like being a kid walking into Willy Wonka’s Chocolate Factory and someone saying, ‘Have fun!’” Sugiki said. “How could you not achieve anything you would want to do here? Working at The Studio has been a dream.” Zerkowitz also worked on a series of 12 small castings that were based on the four seasons. The first set was made in the traditional way that she casts glass at home, while the second combined her traditional way with the pâte de verre technique that Suzuki typically uses. The third was entirely pâte de verre.

Jon Chapman

24 The Flow/Fall 2015 Upcoming Residencies for 2015 The current Instructor Collaborative Residency welcomes Allistair Malcolm and Helen Millard to The Studio in September 2015. Malcolm relies on traditional glassmaking techniques to create abstract art. The U.K.–based artist draws inspiration from the glassmaking history in Stourbridge. His style will be combined with the classical approach of Helen Millard, also from Stourbridge. These artists are excited to have the opportunity to step outside their comfort zones and work together. They will be using glass as a canvas to create padded cameo glass, which involves multiple overlays in a variety of colors. This technique was used briefly in Stourbridge, and both artists are anxious to explore its possibilities. The Instructor Collaborative Residen- cies are by invitation only, but now is the time for artists who are interested in being considered for the general monthlong residency program to apply. Proposals and all of the supporting materials must be submitted by October 31, 2015. Trans- portation plus room and board will be arranged for those invited to participate in these monthlong programs. All basic supplies will be provided, and the facility will be made available whenever classes are not in session. Residents will also have access to the Rakow Research Library and the collection of The Corn- ing Museum of Glass. One or two artists will be selected for each month for the individual residencies, which are held in March, April, May, and October, and one or two groups of artists will be selected for the Instructor Collaborative Residen- cy program for the month of September. Flow

www.cmog.org

Hellen Millard Artists and instructors who are interested in a residency at The Studio can visit wwwcmog.org/glassmaking/studio/residencies for more information.

The Flow/Fall 2015 25 TipsTips onon PhotographingPhotographing DichroicDichroic GlassGlass

Text and Photography by Erik Anders

earning how to successfully photograph your work created from dichroic glass is a valuable skill set worth developing and perfecting. It is highly recommended to start off Lwith a digital or digital SLR camera with three or higher megapixel resolution and macro capabilities. Digital cameras are great for many reasons including making desktop editing, quick and easy storage, the ability to transmit electronically, and easy printing possible. It is also important to have a large-size memory stick/media for your camera. This will give you the freedom to take extra shots of your subject and allow room for marginal errors (for example, blurring and bad lighting). Setting up your camera to capture the highest quality or largest possible file size increases sharpness and makes selecting shots later on much easier.

The Importance of Good Lighting Some photographers prefer to use a tripod, but personally I like to float around the subject to capture different angles of light. The “floating” technique is especially great for the trichroics and the color shifting capabilities. Taking multiples of every desired shot, as mentioned before—with flash, without flash, different situations, and doubles of each frame—is key to getting the “perfect picture.” Keep in mind that a neutral background is a nice touch for professional looking photos. The majority of the time I use halogen lights, but a camera flash and, most importantly, natural sunlight are also great sources of light to help capture dichroic in its truest form. Diffusing halogen lighting is very important, because it emits such high levels of light from a relatively small source resulting in unwanted reflections, blotchiness, and washed out photos.

Final Editing After taking all of the desired shots of your subject, editing them with a program such as Photoshop will help to finalize your photos. Adding text, adjusting color bal- ance and saturation, resizing, cropping, even morphing are all possibilities at your fingertips with a photo editing program. The ability to use one is almost as valuable as taking a photo itself. Another technique developed by Craig Saxton utilizes editing programs like this. Start with your camera on a tripod and your object “fixed.” Now snap three or more pictures, with the first having the light source from the left, the next from the center, and the last from the right. When you’re finished, you will have three (or more) pictures, with the only difference being the lighting. The clone tool included in photo editing programs can be used to “clone in” the color from the other photos where your main photo needs it the most, thus showing all of the colors the camera didn’t pick up in just one photo. This can also be achieved by selecting a main photo and layering transparencies of the other photos over the top of the main photo. I believe this is a breakthrough for dichroic photo taking. Last but not least, a good orange-based organic glass cleaner used on the surface of your subject will get rid of any fingerprints or smudges and bring out that extra sparkle. These are not rules written in stone, just a guideline from one artist to another so we can all photograph lifelike stills of this fantastic medium that is so hard to capture in its essence. Flow www.glassartists.org/ErikAnders

www.GlassArtMagazine.com www.GlassPatterns.com www.TheFlowMagazine.com for all the newest workshops and events in glass around the world.

The Flow/Fall 2015 27 What's

Ed Hoy’s International introduces the new Buddha Faces Mold from Colour de Verre. Serene and contemplative, these faces seem to radiate calm. The molds are easy to use and make two faces at one time. The finished pieces are 3-1/2" to 4" tall and can be made to almost glow by fusing a piece of dichroic sheet glass to the back surface. For more information, visit the company’s website. 800‑323‑5668 [email protected] On the Sculptural-1 and 2 CDs www.edhoy.com you’ll find a collection of projects in PDF format. These articles are selected from Coatings By Sandberg presents the Mini Double Coated Splat- over eight years of The Flow archives. ter Pattern that is now coated on black glass in 4" x 4" squares All of the Tutorials and Articles are in random colors. Because the glass is black, it’s coated twice on by and about leading glass artists and one side to give it depth and variety. They are available now in industry experts. The CD also includes 90 and 96 COE. an Artist Gallery, Reader Gallery, Women 714‑538‑0888 in Glass, and Emerging Artists. www.cbs-dichroic.com Most of these projects are step-by-step and include four- D&L Art Glass Supply is proud to announce a new up- color photography. Have fun dated website. Building on a highly detailed, product-driven learning new techniques from website, the company has added even more ways to find our experts. products and product information. Navigate the 17,000 products using the existing catalog organization or find products by areas of interest, including stained glass, kiln forming, torchwork, and more. You can also refine your search by mold dimensions, bevel dimensions, and other criteria. This new site is also optimized for your tablet and features new larger product images. 800‑525‑0940 303‑449‑8737 www.dlartglass.com

Paragon Industries, L.P., is pleased to announce the addition of Maria Garcia as plant manager at the company’s kiln factory in Mesquite, Texas. Maria is a specialist in lean manufacturing (the art of eliminating waste) as well as 5S (sort, straighten, shine, standardize, and sustain). Her plans for Paragon include strengthening a culture of teamwork, cooperation, and communication among employees. 800‑876‑4328 972‑288‑7557 www.paragonweb.com

The 2016 Glass Craft & Bead Expo will be held at the South Point Hotel Casino in Las Vegas, Nevada, with classes from March 30–April 3. The tradeshow will be open April 1–3. The 2016 show catalogs will be mailed at the end of October 2015. If you are not on the mailing list and would like to receive a catalog, please visit the website and click on “Mailing List.” Those already on the list who have address or contact changes should make sure to update by clicking “Change” on the registration site. Registra- tion for classes and hotel accommodations will begin on or before October 30. There are many new teachers along with a fabulous line of returning instructors. 800‑217‑4527 702‑734‑0070 www.glasscraftexpo.com

Paul Stankard, internationally renowned artist known for interpret- ing native flowers in small scale glass sculptures, has released the first two in a series of five glass orbs dedicated to the spiritual and www.theflowmagazine.com healing properties found in nature. Each orb focuses on a certain illness Stankard is experiencing and the related healing virtue of that orb’s

28 The Flow/Fall 2015 design. The orbs encase his signature miniatures and explore an illness he has overcome through modern medicine in tandem with the healing virtues of creativity and depict an insight into the spiritual realm that permeates his creative process. In the artist’s words, “Beauty heals. Creativity has healing powers, and through my work I want to express how I embraced and owned my cancer challenges. That is how the creative spirit works for me. I overcome fears by confronting, embracing, and then owning them. My studio has been my sanctuary, nurturing my creative spirit while inspiring my work. I have drawn from my personal experience during recent illnesses while feeling the healing virtues of the creative act leading to the ethereal dimension of my art making. As I craft glass paying homage to God through the plant kingdom, each component sculpted in glass has become a prayer mantra to reinforce the healing benefits of medicine.” Visit Stankard’s website for more information on the artist and his work. www.paulstankard.com

Skutt introduces the new Micro Scarab for the flameworking artist who needs a compact desktop model that can run on house- hold voltage. Just take it out of the box and plug it into any standard 120-volt outlet in your home or business. The interior chamber is an ample 12" wide, 7‑1/2" tall, and 9‑1/4" deep. Like all of the Scarab models, the kiln comes standard with the GlassMaster33 controller, which was designed by flameworking artist Marcel Braun to be simple to use yet completely customizable. 503‑774‑6000 [email protected] www.skutt.com

CGBeads has launched a new website, making it easier to mix and match CGBeadrollers to obtain discount prices. Mix and match is also now available in the findings sections. CGBeads has rolled out the first in anew series of CGBeadroll- TorchBkgdAd.pdf 1 12/1/14 12:22 PM ers—cabochon molds featuring three sizes each of star, pyramid, pentagon, and classic gem shapes. There are lots of choices for cuff link and earring post cabochons, mini ring toppers, pendant mountings, or your own unique, original designs. These can also add a 3-D end when used with the CGBeadroller Ear Gauges. Bear 940‑458‑8322 [email protected] www.cgbeads.com Paw ® Glass Patterns Quarterly invites you to join the Studios glass industry’s best instructors for the upcoming Glass Expert Webinars™ Torchworking Glass Expert Webinars™, a great way to learn new skills and techniques without leaving home. These live, two-hour seminars include teacher demonstrations, technical videos, and Kilnworking slide shows plus the opportunity to ask questions via “live chat.” Webinars slated for GPQ’s C Coldworking Fall 2015 “Come Back to Glass” campaign include: The Copper Foil Method A Beginner M and Refresher Stained Glass Class with Denny Berkery (September 15), Copper Foil Overlay F with Cathy Claycomb (September 17), Screen Melt with Dennis Brady (September 22), Y Bullseye Glass Master Glass Artisan Lecture Series™ with Dennis Brady (September 24), Flameworked CM Carlisle Torches Paragon Kilns Indian Dancers and the Human Form with Lewis Wilson (September 29 and October 1), MY Rayzist Photomask Vitri-Fusáille® with Peter McGrain (October 8), Marble Making and Boro Critters with CY Josh Mazet (October 20), Kaleidoscope Pattern Bar Adventure with Susan McGarry (No- Weaver Tools vember 10 and 12), and Fusing with Frit with Lisa Vogt (November 17). Visit the Store on CMY GPQ’s website to find a complete listing and more details for these upcoming Webinars. K 800‑719‑0769 [email protected] www.glasspatterns.com Workshops Studio Rentals Flow Glass Supplies

150 Shippenport Rd Send your What’s New information to The Flow Magazine Landing, NJ 8300 Hidden Valley Road, Due date for Winter 2015 P.O. Box 69, Westport, KY 40077 September 20, 2015 [email protected] www.BearPawStudios.net

The Flow/Fall 2015 29 EFinger Pendant E Text and Demonstration by Jeff White Photography by Justin Landau

When you’re 1 ready to begin, find a finger after which to model.

It can be live, dead, real, fake . . . doesn’t matter. It’s generally easier to model it after your own. 2 Break down the 12 mm rod into a manageable section to spin — about 8". 3 Glass Alchemy Silver Stirke 5 Frit Sno White Rod Northstar Orange Rod Additional Glass 12 mm Clear Rod Roll the tip of the 12 mm rod 7 mm Clear Rod in the Silver Strike 5 frit. 12 x 2.2 Clear Tube 3 mm Clear Rod Tools and Materials Griffin Tools Brass Knife N8 World Famous Finishing Tool Reamer Frit Spoon Keep rolling 4 until no clear is visible in a 1" to 1-1/2" section.

ike most people, the obsession with the obscene or grotesque interests me beyond simple fascination. It’s in creating some- Lthing disgusting that I find beauty. This pendant dabber was created when I had some scraps from another project that looked an awful lot like a piece of a finger.

30 The Flow/Fall 2015 Using the 5 carving knife, 10 carve out the knuckle in the middle of the finger.

I generally use a small direct flame and carve outside of the flame. Accent in a dabbing manner with the Orange rod where the Sno White 6 attaches to the “flesh” of the finger. 11

Flatten the end of the rod.

Cap the bottom of the finger, where it would meet the hand, in Orange rod. 7 Place the finger in the kiln. Attach the Sno White rod to the middle of the flattened end To start 12 of the finger. the loop, take a piece of 12 x 2.2 tube and roll the end of the tube in Silver Strike 5 frit until it is covered. Maria twice, 8 once for the top knuckle and once for the finger tip. 13 Flare out the frit-covered end.

Holding on to the 9 Sno White rod, tear the 12 mm rod where the Silver Strike ends and flatten the Lip-wrap 14 bottom of the finger the flared where it would attach end with the to the hand. Orange rod.

The Flow/Fall 2015 31 Attach a piece of the 15 20 Orange rod a few millimeters from the flare perpendicular with the 12 x 2.2 tube.

To finish, pull the bottom of the finger to a point where it would Flame-cut attach to the hand. the 12 x 2.2 16 tube about 1‑1/2" to 2" from the flared end and thin out the side opposite from the Grab the 21 flair with the 3 mm rod. piece with a finishing tool and snap off the cold-seal.

Ream out that end 17 and lip-wrap with Orange rod. Sprinkle over the 22 previous cold seal with the Silver Strike 5 frit to mask any punty marks. Cold-seal 7 mm rod 18 opposite to the Also make small indents with the knife to texture the skin before Orange rod and placing it in the kiln. flame-cut the Orange Flow rod, leaving a small [email protected] amount to attach to the finger.

Jeff White, aka Dr. Whitestone, has a degree in film production from Burlington 19 College. While attending school he took on a job editing a documentary for the Bern Gallery’s Pipe Classic. Eight years and eight DVDs later, Jeff is a resident artist at the Bern Gallery. Aside from being one of the resident artists at Bern Glass, Jeff also takes on custom orders and teaches glassblowing lessons. His work (and cat photos) can be found on Instagram Attach the loop to the finger. @Dr.Whitestone_Glass. All inquiries will be directed to Bern Glass.

© Copyright 2015 by The Flow. All rights reserved. 32 The Flow/Fall 2015 Glass Expert Webinars™ You’ve got the passion, the for Fall 2015 Live Two-Hour Webinars with Renowned Glass Artists! drive, and the dreams ... No Traveling Required!

Dennis Brady Screen Melt September 22 Master Glass Artisan Lecture Series September 24

Lewis Wilson Flameworked Indian Dancers We’ve got the tools to make your September 29 and dreams come true. October 1

Peter McGrain Vitri-Fusáille® October 8 408.288.7978 www.artcoinc.com [email protected]

Josh Mazet Marble Making and Boro Critters October 20

Joe Porcelli Tale of Two Techniques November 5

Susan McGarry Kaleidoscope Pattern Bar Adventure November 10 and 12

Lisa Vogt Fusing with Frit November 17

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

The Flow/Fall 2015 33 Borosilicate Glass Fume Theory and a Brief History of Precious Metal Uses in Glass

Borosilicate implosion marble by Freddy Faerron and Raven Copeland.

The Discovery of Color Changing Glass Commercially produced borosilicate glass is made of five dif-

ferent chemicals. Its basic formula is 80% silicon dioxide (SiO2). With the exception of oxygen, silicon is the most common element on the surface of the planet and the main ingredient in most glass. Gold and silver The element in borosilicate that makes it so suitable for absorption yellow-hued off axis and expansion of heat (and incidentally, gives this glass its name)

implosion vortex is boron trioxide (B2O3). The formula also includes approximately

by Freddy Faerron. 13% B2O3, and about 4% sodium/potassium oxide (Na2O/K2O). (Sodium oxide, or soda, is a main ingredient in a lot of glass, by Freddy Faerron though mostly in higher amounts. Soda lime glass, for example,

Photography by Ben Ramsey has around 14% Na2O.) The final ingredient in borosilicate glass is

2.3% aluminum oxide (Al2O3). (1) The use of boron trioxide makes a big difference in how color is produced in this particular glass. he discovery of glass was one of the most important in the his- In fact, the relationship of gold and silver with glass changed once tory of mankind and has played a significant role in all aspects borosilicate glass was created. Tof the advancement of civilization. In addition to its practical and Gold and silver have a long-standing relationship with glass scientific applications, glass has molded our intellect and creativity color. In scientific terms, both metals have been used as a precipita- for multiple millennia. tion of nanometer-sized colloids to create color. (2) A colloid is a Without borosilicate glass, there would be no modern chemis- solution that has particles ranging between 1 and 1,000 nanometers try. Without glass lenses we would not have astronomy. Modern in diameter, yet is still able to remain evenly distributed throughout housing and transportation would not exist. Glass is also one of the the solution. A nanometer is one billionth of a meter. The suspen- most collectible art forms. Its history is profound, and the art we sion of metal molecule nanometers in glass has long been known participate in with borosilicate has deep roots in adoration, respect, to create many beautiful colors. The Lycurgus Cup (4th century collection, and exploration. Rome) is one of the earliest examples of this practice. Metals and glass have been combined throughout history to cre- The first recorded duo chromatic (dichroic) glasswork in history, ate some of the most mesmerizing specimens of visual art. I would the Lycurgus Cup was revolutionary. It consisted of a translucent like to share what I have come to understand about borosilicate glass containing colloidal gold and silver particles in proportions glass and its interaction with the precious metals silver and gold to that cause the glass to display a particular transmitted color and a create fumed color. The numerals in parentheses after text represent completely different reflected color as wavelengths of light either the numbers of the corresponding notes at the end of the article. I pass through or are reflected. (3) Historically, this is the origin of will touch upon other aspects of the relationship of glass with met- “color changing” glass and the foundation to fully comprehend als in general, but the main focus will be on borosilicate glass and what exactly is accomplished by fuming gold and silver onto bo- precious metal fuming. rosilicate glass.

34 The Flow/Fall 2015 Borosilicate implosion marble by Freddy Faerron and Ben Ramsey. Comparing the Relationship of Precious Metals to Soda Lime and Borosilicate Glasses Understanding this relationship with precious metal nanomolecules and their colloidal states in glass is one of the foundations of my borosilicate fuming theory. When working with the flame and borosilicate glass, we are not entirely accomplishing a colloidal state Borosilicate of these metal nanomolecules. They remain in the nearest applied implosion cabochon surface of the glass after, and during, high temperature bonding by Freddy Faerron and Joseph Powell. applications. It seems that gold molecules, specifically, have a hard time dispersing into the glass matrix (as in higher content sodium oxide “soda lime” glass). Fumed silver has an easier time becoming colloidal with borosilicate, especially in some very thinned out The Beginnings of the Contemporary wall applications, yet it is not as simple to accomplish as in soda Borosilicate Movement lime glasses. The contemporary borosilicate art movement has one person I have considered many reasons as to why this is and have con- to thank for setting a lot into motion during the early days. The cluded that the primary ingredient besides silicon dioxide, boron efforts and dedication of John Burton, who in 1967 authored Glass – trioxide, is the culprit. I believe the high levels of boron trioxide Handblown, Sculptured, Colored – Philosophy & Method, the first deeply affect how borosilicate reacts to fuming and the nanomolecu- book on contemporary art lampworking, were largely responsible lar precious metal structures applied onto it in general. It appears for the creation of the flameworking program at Pepperdine Uni- that the complete lack of boron trioxide and much higher levels of versity. His work also led to the flameworking methods taught sodium oxide make soda lime glass more conducive for a colloidal there in the late ’60s and early ’70s. It was during this time that the state of precious metals in general. theory of borosilicate color began to be explored and applied. Both I did some research with my great friend and peer James Yaun at Paul Trautman, founder of Northstar Glassworks and now at Traut- Studio One in Corning, New York, where we gathered spruce pine man Art Glass, and Suellen Fowler began exploring color making glass (a 96 COE silica/sodium oxide glass) and fumed the gathers through the efforts of John Burton and his students. Maggie Youd, using our standard techniques. Both silver and gold readily began the primary instructor at Pepperdine, was handpicked by Mr. Burton. sinking into the glass as the gather remained hot. This is the begin- This was an extremely exciting time in the movement. Fowler ning of a colloidal state. The metal nanomolecules easily entered was only 14 when she began working with glass. Some peers in the molten glass matrix, and with enough practice and proper ap- the Pepperdine glass program had chemistry backgrounds, and plication, a perfectly colloidal precious metal–colored glass could Burton’s knowledge of soda lime color making was being shared. have been accomplished, as it has been for centuries on soda lime Their experiments led to the colors we have today. They started by glass with silver, gold, manganese, copper, and many coloring ions. using silver dimes cut into small pieces and laid inside tubing, which Fuming is not the best way to create perfectly dispersed color on was then mixed with more clear to make a pleasant colloid yellow. any type of glass. Furnace- and flame-batching precise amounts of Fowler discovered that after the glass was exposed to sunlight the these precious metals and coloring ions (metal, metal oxides, and color shifted, and that also happened when the glass was reheated. minerals) is, even in borosilicate. Fuming the metal onto borosili- This was the beginning of understanding the striking qualities of cate leaves the nanocrystals you are dispersing in the flame directly borosilicate glass. on the surface because of the inert nature of its composition. That The students moved on to using silver oxides, nitrates, and car- makes all the difference. It seems that boron trioxide–rich glass bonates soon after the initial silver coin experiments. Both Fowler creates one of the best canvases for surface application of precious and Jeffrey Spencer, who were John Burton’s apprentices, credit a metals. Tremendous ranges of reflection and transmission can be Pepperdine College chemistry student named Larry Ward with sup- accomplished through subtle single layering of precious metals, as plying both knowledge and the chemicals to run the experiments. well as through multiplying the layers. The bold hues and blended Ward was a chemistry major and teacher’s assistant at the time color ranges full of reflective and transmitting qualities that many with access to the necessary chemicals. Research in borosilicate artists are accomplishing today are a testament to the relationship color making was ultimately thanks to Ward’s input and interest of borosilicate glass with gold and silver. in lampworking. The Flow/Fall 2015 35 Borosilicate implosion marble Understanding the Science behind Glass Fuming by Freddy Faerron and Joseph Powell. In the 17 years that I have been fuming, my output and research have led me to understand the science behind what it is that I do. At first I was simply amazed at the incredible colors that fuming Around that time, Paul Trautman was working with Guy Moore, created. It was like painting on a glass. I was into precious and semi- another Burton student. Moore, Trautman, and Fowler shared their precious stones before I became a glass artist, and fuming brought combined knowledge and research, thereby advancing and innovat- that love into the glass as well. I will always consider fuming on ing our borosilicate palette. (4) glass as one of my primary creative inspirations. It is important to address proper studio ventilation when discuss- There are three basic things at work when you participate with ing precious metal fuming. Silver and gold fuming are not to be fuming and the torch: the precious metal itself, the glass you are inhaled. You want to have a professionally ventilated studio when using, and the flame environment. All three—and their many com- working with metal fuming and glass in general to maintain good binations—play a vital role in the outcome. The fourth influence is health. I highly recommend that you avoid fuming with all other the controlled kiln annealing as well as the striking processes after metals. The health risks are very high. the work is completed. The quality of the metal you use will alter the outcome of your Breakthroughs by Bob Snodgrass fuming in precise detail. The finest gold and silver will create the Borosilicate fuming also started in the early ’70s. Ward was cleanest palette. Any added alloys will affect the way the metal experimenting with a gold compound gathered in a hot rod and fumes and colors the glass. With gold you can use this to your ad- fumed onto borosilicate to create various ranges of reds. Meanwhile, vantage, but not so much with silver. The added alloys in less than Bob Snodgrass’s teacher Chuck Murphy began experimenting with .9999 argent pur silver are nickel and copper. They affect the way copper to create a reddish color on pipes. (Copper is not recom- the silver reflects its true hues on a nanmolecular level by changing mended for fuming due to high toxicity.) It was Murphy who taught its crystalline integrity. When it comes to gold, we can apply both Snodgrass how to blow glass in 1971, but it wasn’t until the mid 22- and 24-karat gold for fuming, with 22K being 22 parts gold 1980s that Snodgrass accidentally fumed silver onto his glass. He (91.67%) and 2 parts ( 8.33%) alloys. Generally these alloys are thought he had discovered something completely new. This was not 5% silver, 2% copper, and 1.33% zinc. The added silver in 22-karat the case for soda lime glass, but it is largely accredited as being a gold will help it bond to the glass. Also, 22K gold will give you a first in borosilicate. slightly different color range than pure gold. I generally keep 22K Fuming has been done for centuries with soda lime glass. In and 24K gold plus .9999 argent pur silver on hand for fuming. Germany’s Black Forest during the19th century, silver nitrate was As mentioned before, we are dispersing these precious metals fumed to make glass ornaments. But it was Bob Snodgrass and his in the flame and placing them on the surface of the glass in a nano- openness in sharing his findings with his apprentices that opened meter scale. Imagine using a bead of metal just 25 percent the size the door to the popular application of borosilicate fuming. Without of a grain of rice, applying it in the flame, and letting the vapors his grassroots approach, these techniques would have stayed in labs disperse onto the glass. You will barely see that bead change size, and private studios much longer. yet it will color the glass enough to completely alter the way it Snodgrass not only made it his signature work but generously looks. This is exactly what is done in laboratories and color mak- shared his knowledge with anyone who was inspired to create ing companies, except in an open flame environment instead of a glasswork. He also followed the Grateful Dead on tour, exposing controlled chemical-based application. We are using the metal as his talent to much broader audiences. This became the perfect storm a base and the flame as the catalyst to break it down into smaller for the borosilicate movement—and made me and countless oth- nano particles that will reflect light in different hues. ers the passionate silver and gold “fumers” we are today. That art When you break down these precious metals into nanomo- movement continues to inspire lampworkers worldwide. lecular levels, they reflect light in different ways than on a larger It’s my humble honor to give this great man the nod for his ac- scale. Nanomolecular light reflection can be very baffling. Color is complishments and openness. My creative life has evolved, and I reflected differently in that small of a scale. The diameter of gold am the artist I have become today thanks to the direct influence of nanoparticles determines the wavelengths of light absorbed. The Bob Snodgrass. smaller it gets, the less range of light is absorbed. 36 The Flow/Fall 2015 Learn Create

Gary Shop Beecham

His Glassworks, Inc 2000 Riverside Drive, Suite 19 Asheville, NC 28804 USA Your 828.254.2559 • 800.914.7463 Subscription hisglassworks.com Any Way INTRODUCING.... You Want it e Flame Tru Wo • Print ew rk N in • Digital PDF g 's t J a t • PDF on CD c o k c s S Griffin Glass Tools Flameworking tools designed & produced by a flameworker www.griffinglass.com

Richard Trombley

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The Flow/Fall 2015 37 Comparing Gold and Silver Characteristics The Inert Effects of Borosilicate With gold, we are generally dealing with a sphere-shaped par- Glass Composition on Fuming ticle that changes color depending on the nanoparticle size. The There are many borosilicate manufacturers, but there are cur- smaller the gold nanometer, the more blue is absorbed and the red- rently five major suppliers: Corning Pyrex, Kavalier Simax, Kimble der it appears. Gold generally ranges in color from gold to orange Kimax, Schott Duran, and Chinese-manufactured borosilicate. In and red as it gets smaller and reflects more blue. (5) Pure gold can order to have the same coefficiency of expansion (COE) rating, also achieve crystalline shapes at a nanomolecular level that will the glass batches must be similar in composition. They do vary reflect in the blue/purple hue. I have yet to see enough recorded slightly in chemical percentages as well as in COE by minus 0.5 works to find this a stable way to achieve these colors using gold, to 1 point by manufacturer. Research shows that brand, location, but scientifically it has been proven that colloidal suspension of and manufacture dates affect the subtle way the metal lays on the gold nanoparticles will achieve these light reflections when the surface of the glass and reflects its hues when fumed to borosilicate. nanoparticles are in a crystalline shape. I have found that once I Given that a nanomolecular reaction is causing this subtle shift, the have flame-structured my fumed nanoparticles with gold, they tend research has been fairly involved. to absorb blue wavelengths and reflect in the red/orange ranges. Ultimately, what you are looking to achieve is full control of Without flame-structuring your fumed base, you might be able to the nanoparticle structure with your flame environment, without stabilize crystalline forms of gold nanoparticles that reflect within the inert effects of the glass you are using. You are looking to have this blue/purple range, but they will likely remain unstable unless full transmitting and reflective control by adjusting the oxides and aided by another bonding agent after cooling. I will explain flame carbonate base flame settings, which I will explain further below. structuring in detail below. Remember that the inert composition of borosilicate creates a great Pure silver nano particles have a much wider range of color “canvas” surface for precious nanometal particles. It is your control absorption and reflection. When you break down silver to the of the flame atmosphere that should support your application and nanometer level, it actually changes shape by the nanometer size nothing else. as well as color by the size of each shape. Nano particles of silver This has been a baffling issue for me and many peers in the can be rods, cubes, prisms, triangles, or spheres, with sizes ranging industry. I saw the quality of my metal fuming become seriously from 10 to over 100 nanometers. (6) affected when the cost of metals and minerals rose after the stock Silver nanoparticles can create a number of reflective colors market crashed in 2008. My fuming theory partner James Yaun in borosilicate glass. The metal is often recorded showing white, saw this same thing happen in his metal fuming. There was a lot of yellow, blue, blue-green, green, orange, red, and purple. Nearly all speculation as to why. When James asked one of the manufacturers the colors of the rainbow can be achieved by silver alone when the why the glass seemed to act differently, he was told that the formula nanoparticles are properly flame-structured and suspended. Silver is had not changed, but there had been slight changes in the quality of also capable of striking in the kiln over time. The standard operating the chemicals used. In essence, they started buying lower, yet still kiln temperature of 1040°F allows the silver crystals to gather over acceptable, grades of chemicals. This seems to make the surface of time and become larger nano structures, thus changing the shape the glass more porous, which allows the fume body to rest in angles and hue reflections. on the surface, thus altering the true reflections. Artists have been known to dunk a molten mass of glass into water to “flash cool” flame-structured glass and suspend specific nanocrystal shapes to create various hues in one piece. When silver is fumed on thinly blown borosilicate, then encased and condensed, the artist is able to achieve a special type of colloidal suspension when specific thermal mass heating, striking, and flash cooling techniques are applied. Silver is one of the leading metals in borosilicate color fabrication. It is extremely compatible with borosilicate glass, making it a great bonding agent to gold when they are applied together to the surface. The individual nano particles of gold and silver create various alternate colors when bonded. Gold does not have the same bonding compatibility as silver. This is why 22K gold bonds better than 24K alone, which does not bond well to borosilicate glass unless it is encased. Silver can bond unencased to glass and has a great history with glass in general. Silver nitrates, oxides, and carbonates have influenced glass colors for centuries from stained glass surface applications and fuming to colloidal-suspended color applications. The actual composition and quality of the materials in the borosilicate glass will strongly affect the subtle color hues that are in fuming.

Linework encased fume backing art, Marble #56 of 250 from Freddy Faerron’s certified implosion series, 3.15".

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The Flow/Fall 2015 39 I have spent many hours researching controlled batches from I have found through my fuming studies that using a neutral-to- different production plants, brands, and dates of fabrication. I have oxidizing flame with silver allows me to create a more transparent, noticed that the older batches in general have a better reaction to electric hue as a final product. The application of carbon creates a fuming, but location also played a role. Old Kimax, Simax, and more opaque pastel color palette when controlled properly. Most Pyrex have a great reaction to fuming, which is most likely one of of my fuming work applications involve encasing the metal bodies the least concerns in the manufacturing side but seems to have a with a layer of clear, be it dots, lines, random patterning, or a full sense of theoretical commonality. The grade of manufacturing also lamination. Using a reduction flame while applying clear over my made a considerable difference in the way the nanoparticles reflect. metal bases affects the way fumed colors reflect. With this under- Thin wall or scientific grade glass has an across-the-board better standing, you can control the final outcome. response to the reflective qualities of nanoparticle metals. This has While using a surface mix torch you will have a more carbon- all led me to theorize that the slight grade shifts in materials is the based flame by the way it mixes onto the surface. Lowering your main difference that affects the way these nanoparticles lay on the propane regulator psi and/or raising your oxygen psi will give you surface of glass and reflect their true crystalline base, specifically greater control. I have found the premix flame environment to be boron trioxide. Currently, it is widely accepted that Simax glass has more on the oxidizing side and to generate a more transparent base the overall best results. To me, Simax seems to look and feel more fume. GTT torches are very oxidizing in nature when the triple mix densely bonded in general. is applied. They also can be used as a more carbon-based surface mix without the triple mix, which will provide a great range. I use a Principles of Flame Structuring GTT Mirage for my work, and all of my research on precious metal When you are looking into flame structuring there are basic fuming has been on a GTT or premix torch. elements at play. We use oxygen as an accelerant and, generally, propane as our fuel. They provide the temperature necessary for Avoiding Carbon-Based Flames us to work the borosilicate glass into form. In addition to a neutral The addition of oxides to the fuming base has been the most flame, you can adjust the flame to different settings to create an exciting part of this study for me. I have dedicated countless hours oxygen-rich environment (oxidizing) or a carbon- rich environment and finished works to this research. I had the great privilege to see flame (reduction). There is also a variation in the flame atmosphere Roger Parramore demo at Sonoran Glass School in late 2012. I hold depending on the type of torch you use. A surface mix torch will act a lot of respect for Roger. He is truly one of the most educated and differently than a premix torch. The Glass Torch Technologies GTT skilled artists in the field. His knowledge is profound and scientifi- triple mix environment is different from either of these. cally based. In the flame environment we are not just breaking down the pre- After the demo, Roger held a question and answer forum. I cious metals but also using carbon and oxygen as bonding agents. mentioned my studies with James Yaun using spruce pine glass They both create a different reflective base due to their inert proper- and how the metals we fumed onto the glass began to sink onto the ties. A reduction flame environment will introduce carbon into your hot mass as we kept working it. Then I asked Roger why this did precious metal base. Carbon is an extremely good bonding agent, not happen on borosilicate. His response was that the fumed pre- but it will affect the reflective qualities of the metal base. Through cious metals were fighting to stay on the surface when fumed onto conscious control, this will create a great individual palette aside borosilicate more than being received and absorbed into the glass from an oxidizing precious metal base. On a nanomolecular level, matrix as in spruce pine. This was a moment of epiphany for me. I carbon has a faceted body. When the precious metals are attached realized that by using carbon-based flames I was trying to help the to the carbon on the applied surface, the nanocrystal particles will precious metal base attach to the surface, and I might be trying too reflect in an angular pattern, creating a more opaque color due to hard to help the metal bond. The instant I realized that, I wondered the varied reflective angles. what would happen if I “fought” the fume base with oxygen instead. For many years I only used a reduction flame when fuming with silver. I was taught to create a soft reduction candle with my flame and place my fuming rod onto one of the flame candles. Then I should use an oxidizing flame to “clean the impurities out,” which would turn the fume body into a more transparent base. Today since I am already using .9999 argent pur silver, I don’t feel it’s necessary to first fume with a reduction flame. For the past five years or so, I have been using a more neutral- to-oxidizing flame environment when fuming with silver so I can control the amount of carbon that bonds to the base of my fuming body. You definitely have to be quicker in your application and also not bring the fuming rod to a candle. Instead, I bring the fume rod just to the inner edge of the flame atmosphere. You are technically using a hotter flame environment than you need with silver, so tim- ing, practice, and focus on the layer you are applying are necessary. Gold, on the other hand, won’t fume unless you are using a very sharp, oxidizing flame.

Borosilicate implosion pendant by Freddy Faerron and Ben Ramsey. 40 The Flow/Fall 2015 As soon as I got back to my studio that evening, I made a silver fume implosion vortex marble using nothing but a very high-oxidizing flame environment. The flame environment was so oxidizing that it had a hissing sound to it. I used that flame for both encasement and condensing the hollow art glass into solid. The result was a completely transparent, electric blue implosion that became a colloid in the glass. I was amazed at this simple understanding of the effects of avoiding carbon-based flames altogether. I numbered and certified that work (#7 of 250) in my marble implosion series and named it In honor of Yaun for his tremendous insight, shared dialog, and support throughout my dedicated fuming research. This oxidizing flame environment research has allowed me to create a wide range of electric, fume-based colors. I found that using an oxidizing flame on the glass prior to fuming provides a receptive base for the precious metals to rest on. Applying a layer of clear while using high oxygen–based flames also keeps the transparency and continues to create a great base for layering more precious metal nanoparticles over the applied fuming. In my works since this “discovery,” I have repeat- edly seen how oxygen-based structuring of the metal body creates a controlled electric hue base. Creating multiple electric hue layers has become one of my all-time favorite techniques. It actually brought back an understanding of what my first fuming teacher, Mike Lewis, was doing back in 1998. Mike’s fuming is incredible, and he would accomplish some of the best multiple, transparent layering back then. I watched him fume Borosilicate implosion marble for hours and now realize that his use of a more oxidizing premix torch and oxygen-rich flame by Freddy Faerron. environments was his intuitive application of a technique that I have been able to now theoretically define and understand. I’m truly honored that Mike paved my path in fuming right from the beginning.

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The Flow/Fall 2015 41 One Discovery Leads to Another Future Phases of Research This oxidizing-only discovery is also why I began researching After 17 years of dedicated study, my research is not yet com- the consistency of glass batches though a process of elimination. plete. I have accomplished some definitive results to validate my If I was able to control creating an opaque/pastel base palette or findings and also gained a layperson’s understanding of the molecu- a transparent electric hue base palette, then I asked myself why it lar and chemical composition of what I am working with. That said, is more difficult to accomplish this with some clears than others. I am not a scientist or chemist. I don’t own a molecular telescope, Some peers have speculated that there are crystal growth inhibi- nor have I examined my work through one to see the results of my tors in some of the borosilicate batches. I was confused at first as application. All I have is an understanding and theoretical reasoning to what exactly that meant, and I had a hard time finding any data as to why I have reached the results I have been able to achieve. to confirm this theory. Trying to understand what happens in such a small scale makes With a simple Internet search, you can find that all the major this information purely speculative until I have gained enough peer companies’ formulas have basically the same chemical composition review and input from the scientific community. It is my goal to with very slight variations in percentages. It was not until writing this achieve this in the next phase of my research. paper that I found scientific data from the early 1990s that looked I am sharing this compiled data and applied information out of into the precipitation of cristobalite from borosilicate glass during respect and honor to the open source mindset of Mr. Bob Snodgrass high-temperature applications. This is also called devitrification. and his family of students and peers who have contributed much Cristobalite is a polymorphic crystallization of silicon dioxide. The to the borosilicate lampworking community. It is his example that

data I found mentioned how the addition of aluminum oxide (Al2O3) has encouraged many people to freely share their discoveries and

or gallium oxide (Ga2O3) helped prevent this from occurring. (7) develop techniques over the past three decades. It is through this Since there is aluminum oxide in all the companies’ formulas, I example that I am sharing my understating of gold and silver fuming. have come to believe that slight quality shifts in chemicals are the Much gratitude and respect goes out to all who have empowered primary reason for differences in fuming on borosilicate. Therefore, this community with open source dialog. We are all participating in I recommend using the finest available metals and borosilicate glass an incredible creative renaissance thanks to these efforts. May this one can find so that the only shift in your application is the direct information shed some light on your personal studies, and thank control of oxides and carbonates from the flame environment. you for your time. Flow Instagram @FreddyFaerron

Freddy Faerron has been a professional craft artist since 1990. His career has encompassed various media including leather, metal, plate glass, and lampworked glass. Freddy has traveled throughout the United States selling his art in open-air markets, craft fairs, and retail stores. His jewelry was show- cased on the national TV series Dharma and Greg and was worn in concert by Emily Saliers of the Indigo Girls. Working as a stained glass assembler in the mid 1990s, Freddy fell in love with glass in general. He learned from artists Bill and Irene Powell of Miami, Florida, how to cut, foil, and assemble custom stained glass panels and has continued his growth in glass art ever since. He has been lampworking full time since 1998 and specializes in metal fuming. Freddy is currently focus- ing on a certified implosion vortex marble series as well as solo and collaborative jewelry.

Silver fume Photo by AGeekOnABike off axis implosion vortex marble by Freddy Faerron. Dale Mitchell

1. Glass formula www.udel.edu/chem./GlassShop/PhysicalProperties.htm. 2. en.wikipedia.org/wiki/Glass_coloring_and_color_marking. 3. Hess, Catherine (2005). Looking at Glass: A Guide to Terms, Styles, and Techniques, pg. 26. GettyPublications. 4. mickelsenstudios.com/articles/spencer.htm/articles/fowler.htm/articles/Trautman.htm. 5. PBS Nova series, “Making Stuff: Smaller”, video.pbs.org/video/1754649512/. 6. blogs.rsc.org/jm/2010/10//01/hot-articles-rainbow-nanoparticles-atomic-layer-deposition-and-liquid-crystals. 7. journals.cambridge.org/actiondisplayAction?fromPage=online&aid=8159442&filed-S0884291400078055.

42 The Flow/Fall 2015 The ISGB is the leading organization for the promotion, education, and appreciation of the art of glass beadmaking for wearable, sculptural and functional art. Glass Bead Evolution is a quarterly digital magazine, included in ISGB membership. Back issues are available for purchase at www.isgb.org Join today to begin your subscription and take advantage of other member benefits like vendor discounts.

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The Flow/Fall 2015 43 TripleTriple TubuleTubule TechTech

Text and Demonstration by Raj Singh Photography by Marshall Towsky

would like to begin by acknowledging Doug Zolbert, whose previous tutorial in The Flow provided the foundation for this Itechnique. A tubule is a tube-shaped ring of color that goes from the inner surface of the section to the outer surface. By using a series of incalmos, we will achieve a section that has three vortex-like tubules pushed against each other, all dropped into another tubule.

Glass Clear 26 mm Tubing, 1" 7 mm Rod 12 mm Rod Pink Color Rod Garnet Color Rod

Heat the flattened gather so that the heat 4 just barely reaches Begin with the core, tag the flat a 3" blank of 1 surface to the open 1" tubing with hole, and give a a rounded tip. slight pull.

The pull should create a slight indent, which will then be blown out farther.

Pop a hole Round off in the center 2 5 the gather of of the end and color while ream out to maintaining a about 1/4". hollow core.

Gather color Pop another and flatten the 3 hole in the center tip as you would 6 of the color and for a solid ream out again implosion. to 1/4".

44 The Flow/Fall 2015 7 11 Repeat steps Cold-seal a piece 3–5 with clear of 12 mm rod to the 12 mm rod. front, then tear off the 1" tubing and clean it up.

The clear gather should be at least 2 times larger than the gather Implode this design the way you would a normal solid implosion. of color. As the back side shrinks in, the tips of all 4 tubules should meet. Flow Sink the clear www.glassartists.org/RajSingh into the color 8 ring but maintain a round hollow core versus a disk shape until the other tubules are dropped in.

Repeat steps 2–6, except now pop it at a 30 degree angle. Raj Singh’s glass journey began as a 10-year-old child with a mesmerizing visit to the Corning Museum of Glass. In 2009, unable to focus on anything else, he began work- For the repeat of step 6, replace the 12 mm rod with 7 mm rod. ing glass in his garage. From there he went to the land of Repeat step 8 two more times so that you have a tubule base with Lincoln and spent 8 months working with blowers from three tubules sitting on top. southern Illinois. Upon returning to New York’s Capital district, he joined the crew at Prism Glassworks in Troy, New York, where he refined his skills. In 2011 he had his first encounter with the Work each top great state of Vermont and began to develop his own voice tubule to the point10 in glass at Fire on the Mountain in Killington. From the fall where they are all of 2012 till 2014, his work really began to speak, and he about even, then sink took that to the road. all 3 in together into Spending every extra chunk of change on traveling to the original tubule work with different artists in different places, Raj found base and work it himself at the Pipe Classic held by the Bern Gallery in into a disk shape. Burlington, Vermont. “If you had a festival where no one ever left, it would either turn into Detroit or Burlington, so I stayed,” says Raj. He currently resides at the Bern Gallery as a resident artist and instructor.

The Flow/Fall 2015 45 The Last Art Glass Invitational End of an Era

by Deborah Carlson

t was the best of times . . . It was the worst of times. . . . It was the best, well, just simply because it was the Art Glass Invitational I(AGI). It was the worst because it was the very last one. Due to unforeseen circumstances, time ran out for AGI. Time . . . that was the nature of this incredible event. It was all about time. AGI gave artists the opportunity to ponder what this human-made element of expanding and constraining universe really meant. Time can either be your worst enemy or your best gift to yourself. It can be confining or expanding. It can keep you stuck in one spot or take you to another dimension. The thought of time has always been very evident to the attendees of AGI, since the event allowed us to spend a week where there is no time, no constraints, no deadlines, no major responsibilities. The beauty of this community event, celebrating its 15th year, is that it provided not only a great learning experience but also a safe haven where we could cocoon and remember who we really are. A Well-Planned Setting The Art Glass Invitational is the brain child of Tom and Elaine Doner, better known as Mr. and Mrs. Wonka. The whole event is based on the philosophy of Gene Wilder’s Willy Wonka and the Chocolate Factory. To receive “Wonka’s Golden Ticket” in the mail is a pure honor. AGI is set on Tom and Elaine’s sprawling property in the mountain region of rural western Pennsylvania. Tom, over the years, has constructed five working buildings, each dedicated to various “rock star status” torchworkers. There is a glass gift shop, and The Glass Blowing Center has become a landmark in this small community. The Lewis Wilson Building is a 3,600-square-foot facility that not only has room around the sides for at least 10 to 12 torch stations but can hold 75 to 100 people for demonstrations and lectures. It is equipped with screens for both inside and outside viewing. On top of this building is a lounge plus room for a supplier to set up a store. The attached outside has an eating area and now also has a fully working kitchen. Torch stations can be found in the rest of the buildings, and the whole camp can provide room for 60 of these stations. Accommodations are either close-by motels, campers to rent, or campgrounds provided by close neighbor and blacksmith “Big Don.” (FYI, Big Don sets off a cannon ever morning at 9:00 a.m. as a wake-up call.) Everything, including your daily habits and time constraints, is abandoned, and there is only you and other human beings who wish to find out about you, help you, or have you teach them something. There is no embarrassment if you can’t quite get a concept, new idea, or new trick. There is always someone there to ask for help, and there is always someone asking you for help. For one week, there is a community of friendship, respect for other people and their abili- ties, learning, and trust. Most importantly, time does not exist. You enter the camp on Monday and exit on Sunday a different person.

46 The Flow/Fall 2015 “We are the music makers, and we are the dreamers of dreams.” —Willy Wonka

Bittersweet Moments There were about seventy of us this year, mostly new, but also a large number of alumni who came back to wit- ness this passing of time, this ending of an era. It was a very bittersweet moment as we celebrated old and new friends. We had incredible demos—at least three per day—and everyone got to pull boro tubing from a crucible thanks to Glass Alchemy, which provided the crucible and the glass. We had incredible food thanks to Scott Hallam, Matt Tyner, and their volunteer crew. Matt also made an essential oil extractor for his demo, and thanks to Barry Lafler’s garden, made fresh mint oil. With Barry’s help we were able to make mint chocolate chip ice cream using liquid nitrogen. A $4,500 torch donated by GTT was auctioned off, and the funds from the sale of the tickets were donated to AGI. There were campfires and marshmallows, music by campers, poker games, a top twirling contest, hikes with our Big Don bear kits, swimming holes, tube stuffing and cooking with sausage and beer, and oil lamp contests. On the last night, there was a very special and emotional wedding vow renewal ceremony celebrating Tom and Elaine Doner’s 20-year wedding anniversary, outfitted by Trader Horn. The closing night party was a community affair filled with great sangria punch, food, ice cream that one of the neighbors had driven all the way to Pittsburgh for, a great band, a 30-minute huge fireworks display, and a rousing game of “hooky ring.” Most of us left without saying good-bye, as it was too painful to think of a world without this great event. As always, however, the true heart of the camp happens on the side, not always within the view of everyone. These events are the true soul of “glass camp,” the reason everyone comes back year after year. It is said that a picture is worth a thousand words. Let the photos convince you of the Art Glass Invitational’s greatness in a land without time, where everyone is equal and the world is, once again, where it should be.

The Flow/Fall 2015 47

AGI wishes to thank: • Glass Alchemy, a sponsor from the beginning of AGI, when their company started. • Wale Apparatus for the contribution of large amounts of raffle gifts and for supplying AGI with a store. • Bandhu Dunham for the gift of his incredible books. • GTT for the donation of a $4,500 torch. • Bear Paw Studios for its generous financial support. • Demo artists for their time and talents: Roger Parramore, Bandhu Dunham, Tim Drier, Matt Tyner, Joshuah Justice, An- drew Moch, Mr. V, Ben Barocas (MTP Glass), Reed Hardy (Reedoglass), FriT, and Wombat (Zariel Shore). • The volunteer crew of Scott Hallam, Matt Tyner, JC Herrell, Tim Drier, Cindy, Lemmo, and Barry Lafler for their incred- ** Teaser** AGI may continue next year under the new name, ible organizational skills. This crew was a miracle in the making. “Glass Camp.” It will be the same atmosphere and community as • Everyone who contributed, volunteered, cooked, cleaned, AGI. For more information, contact Scott Hallam through the Face- bought and made special food, took care of each other, and book AGI-2015 page or e-mail Scott at [email protected]. left the camp litter free. In the meantime, check into the upcoming “Finding Your Art • And, of course, Tom and Elaine Donor for their time, talent, Voice: Translating Feelings into Visuals” class at Sonoran Glass land, support, guidance, and the whole idea of this incredible School in Tucson, Arizona, taught by Deborah Carlson in Febru- experience. In their words, which is the philosophy of AGI: ary 2016. For more information on this five-day, 12-hour-per-day “Everyone is a teacher, and everyone is a student.” winter intensive torch class, visit www.sonoranglass.org, click on the “Classes” link, then on “Winter Intensives.”

48 The Flow/Fall 2015 Art Glass Invitational 2015 What AGI Means to Me

“That had to be the most epic AGI ever known to mankind. Amazing week, teamwork, spirit, and humanity. I don’t even know what else to say. Thank you, every one of you!” — JC Herrell

“What I love about AGI is that it brings back memo- ries of the positive, creative energy of the Hippie Era of the late ’60s and early ’70s, with more tolerance and the embrace of diversity in thought and style than was even imaginable then.” — Candi Cochrane Durusu

The Flow/Fall 2015 49 “AGI should have been a required event for all serious career glassblowers over the past 15 years. AGI fully represents a community of artists who truly possess a passion for their medium. Everything about AGI supports, encourages, and expands the medium of glass. It is also the finest example of community I have been a part of in a very long time. An artist will find new techniques, new friends, new resources, and support while attending this unique event. I’m extremely blessed that I was a part of it before it ended. I’m looking forward to what the future holds for such and awesome event!” — Kai Hogen

“AGI meant that I got to get away from the stress of everyday life and go to a place where I was surrounded by others who shared the same passion I had. I can honestly say that I’ve never felt like I belonged some- where more in my life. It meant that I got to grow and learn more about something I love. It meant I got to be with great people who understood the love for glass that I had and couldn’t seem to find anywhere else. I remember that on my final day before leaving, I had to step away for a bit and just shed a few tears knowing that I had to return to everyday life and leave AGI behind until we can meet again. It’s an experience I know I couldn’t ever forget and such a wonderful experience—a chance to learn, grow, and make friends. I’m extremely grateful for everything that came from this week and, now knowing what it’s truly all about, wouldn’t miss it for the world.” — Christian “C-TAIN” Farrington

Flow www.deborahcarlson.com Photography by Deborah Carlson, Carson Pennella, Tom Donor, Reed © Copyright 2015 by The Flow. Hardy, Josh Krof, Julie Delaney, and Christian Farrington All rights reserved. 50 The Flow/Fall 2015 Wig Working with Fellow Artists Wag Has Its Rewards

Tiki Text and Demonstration by Craig Lewis and Goblin King s fall approaches here at Hidden Oaks Studios just outside the city limits of Austin, Texas, Halloween is just around the corner. AWhat better time than now to collaborate on a candy corn–themed Tube tube with my friend and shop mate, Goblin King, who loves this sweets filled holiday. Working with a fellow artist to create a piece of art someone will love and cherish is one of the most rewarding aspects that the glass culture has to offer—being able to not only share knowledge and creativity, but also to have great times and build stronger friendships. As with all projects in life, however, unexpected things happen. Being able to “roll with the punches” and stay positive is the key to being successful. For this project we will be sticking to the Halloween candy corn theme with an orange, yellow, white, and black color scheme. A WigWag Tiki Tube Beaker with a 14 mm handmade female bucket and custom white down-stem is our final goal.

Glass Alchemy Orange Crayon Acid Yellow Snow White Northstar Glassworks -NS JetBlack Additional Glass 12.7 mm tube for Blow Tubes 44 mm x5 mm Tube for Base 6 mm Rod for Puntil and Tear-off Hand Pulled Line Tubing Tools and Materials 2x3 and 4x6 Graphite Paddles Small Graphite Reamer 14 mm Male Graphite Tool 14 mm Male Joint Brass Reamer Tweezers Blow Hose American Lathes SEM 5100 Bunsen Burners Pencil Reamer 4" Reverse Tweezers Handmade Carving Blade Hand Torch 1 Make a plan and try to discuss ideas that work with each collaborator’s strong points.

Begin sketching a base design. Once you have the basic idea, fill in the color combinations you like. This process not only helps work out potential problems of the building process, it will also help to keep things on track. The sketch will make a good reference point.

The Flow/Fall 2015 51 2 5

Shape the beaker.

Heat and shape out 4/5 of the beaker’s final size, then remove the Prepare the line tubing. excess 44mm tubing, creating a slight taper. Open a hole to match the size of the hole on the reversal ball section that will become the bottom. Whether you buy your line tubing or make it, be sure the tubing is clean and air free. Twist up your tubing into reversal balls or whatever the desired design is for the project you drawn up. It’s always a good idea to make more than you need just in case some- Work in 6 thing unforeseen happens. Create any other sections that will be the base, added to the piece. I carved up a Tiki head for the neck of this tube. being sure to slowly work this section and keep everything an 3 even thickness. Heat and slightly puff as you gently push to create the remaining 1/5 of the base of the beaker. As this happens, let the reversal ball drop into the bottom. Once this is achieved, you will be ready to marver the bottom flat.

Begin the assembly. 7 Make the Prepare and incalmo some of the prep and flare open what will down-stem. be the mouthpiece. Attach a clear blow tube to the inner rim of the flare on the open end of the mouthpiece. (Note: the rest of the piece will be built off of this, so be sure it’s a clean seal.) Continue to incalmo the sections together, making sure that the holes of each tube being welded together are the same size and Take the desired color tubing and pull it in to the needed diameter, thickness. This will help to keep clean lines and even shaping. making sure to pull a little more than is necessary. The excess will Continue down the neck, shaping as you bring the sections to- be removed during the sizing process. gether. If you are building on the lathe, now is a great time to add in the Bunsen burners. 8

Prepare a 4 clear tube for the base, in this case a 44x5mm, by marvering the end to a tapered Attach a puntil and make point. a maria near the end.

Open a hole to match the hole size of the neck. Weld the two together, then move the heat up the neck slightly to shape the final maria before the base starts. 52 The Flow/Fall 2015 Make sure to leave some room on the end. (This will be the nib that sticks out from the beaker and attaches to the 14 mm female bucket.) Remove the puntil and attach a blow tube. Remove the blow Drop in 12 tube from the other side and gently heat and curve the down-stem to the shape of the beaker. the down-stem and be sure it’s lined up straight before you 9 begin to fully melt it in. At this point begin to work in the seal—top, bottom, left, right— allowing the glass to cool slightly as you work your way around the seal to keep the down-stem from shifting. When the seal is complete, remove the excess cleat from the protruding down-stem and open a hole to receive the 14 mm female bucket. Prepare a hole for the down-stem. 13 Heat up the desired area where the down-stem will drop into the beaker. Be sure to open the hole so that the outer rim of the maria on the down-stem meets the rim of the hole on the beaker. The hole needs to be as round and even as possible.

With both holes prepped to 10 the same size, weld the 14 mm bucket to the down-stem. Make the 14 mm female Pay close attention to the alignment in all directions. Then begin joint. to work the seal—top, bottom, left, right—until the seal is clean and complete.

After opening the end of a prepared blank, heat up the area that will be the joint and slightly L-marver until just smaller than the 14 diameter of the 14 mm brass reamer tool. Get an even reheat, then slide and rotate the waxed brass 14 mm tool into the tubing, slightly expanding it as you tool it to the desired depth. Add the attachments.

11 Note that when you have hollow attachments like the horn I’m Once the 14 mm female using here, you need to blow a tiny hole to relieve air pressure. I joint has been shaped, put mine near the bottom to try to hide it. Also, try to make a couple use the 14 mm graphite more parts than needed just in case you run into issues, like one tool to hold the newly falling off a puntil and breaking. made joint.

Be sure to preheat the graphite before sticking it into the joint. Now detach the blow tube and shape out the bottom of what will When 15 be the bucket. Pop a hole to attach to the down-stem, making sure welding to pop it slightly off center to match the angle of the beaker. the attachments, make sure to also heat the area you are welding to, not just the attachment itself.

The Flow/Fall 2015 53 I like to do a few attachments, then let them sit in the kiln for 10 minutes before I continue attaching more.

Once 20 the hole is 16 open, use the Be sure graphite reamer to fully work to ensure that the in the weld around opening is round the attachments so and even. they are clean and smooth. This will help keep any potential cracks from developing later. 21

When 17 shaping the horns, make sure to get a good, even heat base throughout Add some heat evenly to soften the entire horn before the rim of the opening, then you begin the final slightly paddle to ensure that taper and shaping. it’s flat and even.

Also, try to remember not to twist or pull off center as you shape the horn. 22 Place the piece 18 in the kiln for Prepare the final annealing to finish process. the piece.

Flow Instagram @ CraigLewisATX Get a good pair of finishing tongs or make your own. Either way Instagram @ xxGoblinKingxx they are a great tool. Tongs are much better in my opinion than the black blankets, and they’re way less toxic. Pull the piece out of the kiln and give it a once-over to make sure its ready to be finished. When that’s done, grab the piece and prepare to remove the blow tube. Hidden Oaks Studios is owned and operated by Craig Lewis, aka Joe Blow, who has been working borosilicate glass out of Austin, Texas, since 2001. Remove 19 Goblin King has been on the torch the handle for four years and currently works at from the piece Hidden Oaks Studios, crushing out his and begin to remove reversal ball snorflats. any excess material from what will be the mouthpiece opening.

54 The Flow/Fall 2015 MultilayeredMultilayered PatternedPatterned MarblesMarbles withwith OpalOpal PlacementsPlacements

Marble Demonstration and Text by William “Boxfan” Menzies

Figure by Robert Mickelsen

Northstar Glassworks 4 mm–7 mm Punty Rod 19 mm Clear Lensing Rod 9.5 mm–12.7 mm Tubing Small Raking Rod Illuminati Rod Jet Black Rod Additional Glass Opals Worked Art Section Tools and Materials Alcohol or Window Cleaner Marble Molds Graphite Paddle Tweezers Raking Tool (optional)

n this tutorial, we will explore one approach on crafting a multilayered marble using a patterned Isection, opal placements, and back side patterning. The hope for this article is to provide you with the framework to produce your own uniquely inspired artwork. The two most important things when making a good marble are clean prep and patience. A marble doesn’t have the luxury of a bowl, carb, or flat spot. Its view is unobstructed in 360 degrees, so keep this in mind when contemplating shortcuts. A well-made marble is a satisfying project, and I hope this helps you in some small way. Keep it glassy!!!

The Flow/Fall 2015 55 1 6 To begin, Using the gather all of clean 19 mm the materials and lensing rod, tools you will need carefully marver for the marble. a taper on the tip.

Make sure it is very centered, since this serves as your indicator for opal placement. Prep and 2 clean the opals and tubing for encasement using 7 alcohol or window cleaner.

Do not handle the prep with your hand after it has been cleaned, since that will cause micro air bubbles due to contamination.

Carefully place the opal 3 in the lensing rod. Using tweezers, drop the cleaned Place them closely, as the opals will spread somewhat when you opal into the tubing apply them to the pattern sections of the marble. Melt in smoothly. and slowly encase. 8 Make sure not to trap any air bubbles. Use the smallest tubing that accommodates the opal size.

Once the 4 opal is encased, thoroughly heat the Merge the artwork section to gather and stretch the opal, making sure to place it it to leave a small evenly between the two sections. encasement around the opal. Heating the placement will help prevent the opals from spreading too far to the outside of the pattern work. This allows for more precise placement. 9 Using the characteristic glow 5 of the Illuminati, Carefully place place a small gather the “skinned” opal, on the back side of the with the ornate side opal/artwork section. up, on a small, clean rod. If you allow some translucency in your art, you can utilize multiple layers. Make sure that the opal is centered and melt it smoothly into the placement rod. 56 The Flow/Fall 2015 It is much easier to achieve at this point than when you have shaped the piece in an orb. 14 Punty to the back side of the gather and begin building up the lens.

10 It is important to preconceive the amount of clear glass needed After merging for the lens. and melting in the sections, encase in an opaque color 15 of your choice. Detach the punty and build a core heat into I chose Jet Black for its density and resistance to graying. It is the patterned section better to coil at a smaller diameter than the marble will attain. That of the marble. way when the marble expands, the lines will become cleaner.

Use a paddle or infinite rim marble mold to accelerate the pre- To add a 11 shaping of the orb. simple back pattern, coil-trail the Illuminati over 16 the encased Using a section. straight edge marble mold, do the final shaping Make sure to have a good core heat so the coils will not pop off on the back side of during placement. the marble.

Make sure you allow the marble to develop a skin to avoid tool 12 marks. Also, make sure the marble rides the sides of the mold and Using either not the bottom. a rake or small rod, rake the coil trails. 17

To bring the raking pattern Make sure to have the heat right in front of your raking tool. This together on the back, marble was raked back and forth to add some snap to the pattern. choose some type of embellishment. 13 I chose a small orb marble with an Illuminati backing. This will Clean the bring all the rake lines together. end of the gather where all the rakes come together.

The Flow/Fall 2015 57 22 18 Place the Place the marble in a embellishment preheated mold, then on the center of chill the punty with a the back side of cold tool, such as the marble. a knife or the edge of tweezers.

Make sure to melt it in nicely and shape out with the straight This will allow for a clean separation from the marble. Tap off edge marble mold. the punty with the same tool.

With the 19 23 back side shaped While holding and polished, apply the marble in the a cold punty to the preheated mold, back side of the flame-polish the marble to prepare punty mark. for the final shaping.

If you have fluorescent lights, you can utilize their reflection to look for any flaws or tooling marks. Detach the 20 marble from the 19 mm lens stock and use a 24 graphite paddle to Be patient rough-shape the and let the back lens. side of the marble cool.

Make sure you have a solid core heat to prevent any folding of the lens, which would produce phantom lines. Premature placement in the kiln can result in marring of the softened back side. Holding the marble in an unlit spot, such as 21 under the bench, will give a better indication of the visible heat base. Carefully place the marble in the back of your oven and set Repeat the the appropriate annealing schedule. For info on proper annealing same techniques schedules, please refer to the flameworkers’ bible, Contemporary used in Steps 15 Lampworking by Bandhu Scott Dunham. and 16 to shape the lens. Flow

58 The Flow/Fall 2015 Robert Mickelsen, whose formal education ended after one William “Boxfan” Menzies year of college, apprenticed with a professional lampworker was born into craft, being raised for two years in the mid ’70s, then sold his own designs at in a boot and shoe shop by artistic outdoor craft fairs for ten years. A class with Paul Stankard parents. Since he was producing opened his eyes to the possibilities of his medium. Two years art and leather goods by age ten, later, he began marketing his work exclusively through some it was no surprise that he would of the finest galleries in the country and participates in promi- follow art into adulthood. After a nent exhibitions each year brief stint in the corporate world, Robert has taught extensively at the major glass schools 1998 found William in Eugene, including Pilchuck Glass School, Penland School of Crafts, Oregon, at the home of Bob and Marie Snodgrass, where the The Studio at The Corning Museum of Glass, and The Pitts- journey in glass began. burgh Glass Center. He has also filmed and produced two Founding The Flow with wife Jennifer in 2002 led them videos on his flameworking process and published numerous on a wonderful path of sharing and education that continues technical and historical articles on flameworked glass. Visit to this day. Raising their children to be “makers,” the couple www.mickelsenstudios.com to learn more about Robert and spend much of their time at home and in the garden. “While his glass art. there is plenty of paper to push in America, my family will be glad to craft the paperweights.”

Statement of Ownership (Required by 39 USC 3685) 1. The Flow Magazine, 2. ISSN: 74470-28780, 3 Visit our website and renew, subscribe, Filing Date: 7-30-2015, 4. Quarterly 5. 4 issues 6. 1 yr. $28, 2yr. $52, 3yr. $74, 7. 8300 Hidden Valley order back issues, and link to advertiser websites. Road, Westport KY 40077, 8. 8300 Hidden Valley Rd., Westport KY 40077 9. (Publisher) Steven & Maureen James, 8300 Hidden Valley Road, Westport www.theflowmagazine.com KY 40077, (Editor & Managing Editor) Jennifer Menzies, 1656 West FM 93 Hwy, Temple, TX 76502, 10. Steven and Maureen James, 8300 Hidden Valley Road, Westport, KY 40077; William and Jennifer Menzies, 1656 West FM 93 Hwy., Temple, TX 76502 11. None 12. N/A, 13. The Flow Magazine, 14. Fall dichroic 2014, Winter 2014, Spring 2015, Summer 2015, 15. sheet glass golden Extent and Nature of Circulation: Average Number DICHROIC AND marine of Copies Each Issue During Preceding 12 Months: TRI-CHROIC COATINGS 15A. Total no. of copies (net press run) 4450 15B(1): FORMULATED FOR THE 2311 15B(2): 0 15B(3): 489 15B(4): 0 15C: 2800 TECHNIQUES OF 15D(1): 0 15D(2): 0 15D(3): 0 15D(4): 125 15E: FLAMEWORKING 125 15F: 2925 15G: 1525 15H: 4450 15I: 96% 15. Extent and nature of Circulation: Actual no. of copies dichroic of single issue published nearest filing date: 15A: tubing Total no. of copies (net press run): 4300 15B(1): DICHRO COATED TUBING 2311 15B(2): 0 15B(3): 430 15B(4): 0 15C: 2741 ENCASED AND READY TO 15D(1): 0 15D(2): 0 15D(3): 0 15D(4): 0 15E: 0 15F: WORK, IN ADDITION TO 2741 15G: 1559 15H: 4300 15I: 100% 16. Electronic OUR VAC-STACKED neon Copy Circulation: Average No Copies Each Issue TUBING MADE FROM magentA During Previous 12 months: 16A: 129 16B: 2929 OUR SHEET GLASS 16C: 3054 16D: 96% 16. No Copies Single Issue Published Nearest to Filing Date 16A: 139 16B: laser 2880 16C: 2880 16D: 100% Publication of Statement etched of Ownership is required and will be printed in the images sunset Fall 2015 issue of this publication. 17. I certify that WE HAVE HUNDREDS OF all information furnished on this form is true and STOCK IMAGES AND A complete. I understand that anyone who furnishes FULL SERVICE GRAPHICS false or misleading information on this form or who DEPARTMENT - WE omits material or information requested on the form SPECIALIZE IN CUSTOMS may be subject to criminal sanctions (including fines and imprisonment) and or civil sanctions (including multiple damage and civil penalties), signed Maureen James, Publisher, Date: 7-30-2015.

The Flow/Fall 2015 59 Kiln Corner Evaluating a Used Kiln

by Arnold Howard

Photography Courtesy of Paragon Industries, LP.

Though Arnold Howard works for Paragon Industries, L.P., the information here applies to all brands of glass kilns. Feel free to send questions for this column no matter what brand of kiln you own.

et me offer you a tip for saving time and money when you are You may get a good deal on a damaged used kiln. Melted considering the purchase of a used kiln. Before driving a long glass in the kiln bottom is often not difficult to repair. Ldistance to look at the kiln, ask the owner to e-mail you photos. This will help you decide if the kiln is worth looking at. Once you get there, you should check the following kiln parts carefully.

Inspecting the Elements Take an ohmmeter with you so you can test the elements. Please disconnect the kiln from the power before testing them. Obtain the wiring diagram for the kiln you are looking at. The resistance of the elements should be within 10 percent of the ohms shown in the wiring diagram. The ohmmeter will also indicate whether an element is burned out. While you have the switch box open to check the ohms, exam- ine the switch box wires carefully with a flashlight. Signs of heat damage are loose push-on connectors, brittle wire insulation, and discolored components. Use a dental mirror and flashlight to look at the elements. One of the signs that a heating element has been overfired is that the Before testing the elements with an ohmmeter, element coils will have begun to collapse, or lie flat, in the element disconnect the kiln from the power. grooves. Another sign of an overfire is vertical cracks and shrink- age of the firebricks. Reddish-colored elements are worn out. As iron-chrome- used kiln that was converted to 208-volt operation may still have aluminum elements age, the aluminum eventually wears away, 240 volts listed on the data plate. leaving the iron. That causes the elements to look reddish. Are the Will you need a new electric circuit for the kiln? If so, follow elements bulging out of sidewall grooves? If the elements are not the specifications recommended by the kiln manufacturer. Look at broken, you can heat them with a propane torch and press them the kiln’s wiring diagram and the manufacturer’s website listing back into the grooves. for that particular kiln model. Don’t necessarily depend on the cord plug as a guide, because someone may have replaced the original Additional Considerations factory cord with one of lower amperage. An even more important thing to look at than the condition Flow of the elements when buying a used kiln is the condition of the bricks—especially the lid or roof. One time someone brought a 30-year-old Paragon kiln to the factory for repair. The firebricks Arnold Howard writes instruction manuals and advertise- were in perfect condition, so I knew immediately that the kiln had ments for Paragon Industries, L.P. His hobbies are glass fusing been taken care of. and karate. He also enjoys studying history and watching classic Also be sure to read the electrical data plate on the side of the movies. You can reach Arnold at [email protected] kiln. The plate lists the electrical data as well as the kiln’s maxi- with questions for future columns. Sign up for his kiln newsletter mum temperature, which will help you determine whether to buy at www.paragonweb.com. the kiln. Ask if the wiring has been altered since the kiln was new. © Copyright 2015 by The Flow. Sometimes a used kiln has been converted to a different voltage. A All rights reserved.

60 The Flow/Fall 2015 GlASS ArT SoCieTy BECOME A MEMBER The Glass Art Society is an international non-profit organization whose purpose is to encourage excellence, advance education, promote awareness, and support the worldwide community of artists who work with glass. Members enjoy a variety of benefits, including four issues of GASnews, access to the Member Directory, free classified listings, discounts, and much more.

The new Contemporary Art + Design Wing at the The Corning Museum of Glass Photo: Iwan Baan

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62 The Flow/Fall 2015

INTRODUCING THE Artist NEW Marcel Braun MICRO SCARAB

USE WHAT THE PROS USE

SKUTT.COM

Marcel Ad.indd 1 6/1/15 1:49 PM