STAINED GLASS - Glass Patterns Quarterly

Transcription

GLASS PATTERNS
Q U A
Fall 2013
STAINED
GLASS
R T
E
R
L Y
Volume 29 • No. 3
Moon by Night
Modern Victorian
Fall Projects
Fall Maple Leaves
Fused Cornucopia
Plate
Halloween Projects
Haunted Birdhouse
Fused Skull Plate
Christmas Projects
Holiday Wreath
Fractal Ornament
& Gift Box
Christmas Tree
Nutcracker
Santa
Volume 29
No. 3
$6.00 U.S. $7.50 Canada
www.GlassPatterns.com
DON’T MISS Our 16 - Page Pattern Sheet
Pro Series
Artist Patty Gray demonstrating
Combing at Pacific Artglass in
Gardena, CA.
The Artist
Patty Gray was introduced to glass blowing in
1973. She and her husband built their first glassblowing studio in 1975. Together they have been
producing architectural fused/cast glasswork
for installations in major hotels, public buildings
,and private residences for over ten years. Patty
is constantly on the road sharing her knowledge
of fusing in workshops all over the world. To see
more of Patty’s work visit:
www.pattygray.com
Combing
Combing is a technique used to distort patterns
in molten glass for interesting effects. Typically a
tile is made of fused, varied-color strips of glass
and heated to a point where it is soft enough to
“comb” with stainless steel rods. The piece can
then be blown into a vessel using a process called
“a pick up” like the piece shown here. For more
information on combing visit:
www.glasskilns.com/proseries/combing
The Kiln
The GM22CS commonly referred to
as “The Clamshell”
is particularly well
suited for combing
because of it’s easy
access design and the
fact that a tilt switch
cuts the power to the
elements whenever
the lid is opened to prevent electrical shock.
For more information on the GM22CS visit our
website at:
www.glasskilns.com
From the Editor
Publisher ~ Maureen James
Editor ~ Delynn Ellis
Graphic Artists ~ Dave Burnett,
Traditional Trends
Mark Waterbury
Accounting ~ Rhonda Sewell
The Fall 2013 issue of GPQ is always one of my favorites with
its wide range of projects to start getting you in the holiday mood
long before the season commences. It is time to start coming up
with your plan of attack for the festivities of the next few months.
As glass artists, we have a few extra steps beyond shopping and
wrapping. We have to cut, grind, solder, polish, fuse, paint, glue,
and install these items whether they be personal gifts, suggestions
for your customers, or decorations for your own holiday trove.
I hope Glass Patterns Quarterly makes your shopping list easy
with turnkey projects on every page that will service one holiday after another. Each design
will serve as a gift, a decoration, or an inspiration for years to come.
As I write this, I’ve just arrived home from Europe as I stood next to stained glass windows that were 800 years old. It’s good to know that we’re not involved in a fly-by-night
art form. While 800 years is a long way away, we know that your projects will at least be
heirlooms that you will pull out of your holiday box year after year.
As you add to your own collections your tastes will evolve and grow whether you are
inspired by a trip, a lifestyle, or a hobby. At Glass Patterns Quarterly we are making sure
you have a variety of projects with everything from the traditional Santa Claus to the nontraditional Southwest-inspired cowboy boot. It is fun to see how different trends influence
the traditional.
Don’t forget to support our advertisers. They have some wonderful new products that
may be the perfect gift for your favorite glass artist or something to put on your own list.
Our pages are filled with industry websites and phone numbers to experts who are standing
by to help you find just what you need.
Circulation Manager ~ Kathy Gentry
Copy Editor ~ Darlene Welch
Advertising ~ Maureen James
Contributing Designers and Writers
Valerie Adams, Jean Beaulieu
Dennis Brady, Delynn Ellis
Leslie Gibbs, Jane McCaulley
Jane McClarren, Susan McGarry
Paned Expressions Studios, Chantal Paré
Alysa Phiel, Carmen Flores Tanis
Tingley Glass Studio, Lisa Vogt
Jan Winemiller, Christie Wood
Darlene Welch
Glass Patterns Quarterly
Issn 1041-6684, is published quarterly
by Glass Patterns Quarterly, Inc.
POSTMASTER Send address
changes to Glass Patterns Quarterly,
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Telephone 800-719-0769
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Facsimile 502-222-4527
Happy gift giving,
E-Mail info@glasspatterns.com
Graphic Transfer
info@glasspatterns.com
Delynn Ellis
Managing Editor
Website GlassPatterns.com
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Modern Victorian
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©2013 Glass Patterns Quarterly, Inc.
Glass Patterns Quarterly does not stand
sponsorship for opinions or facts of authors. Unsolicited material will be handled with care, but
the magazine assumes no responsibility for it.
Winter 2013
Editorial
Ad Closing
Ad Materials
Wildlife, Winter, and Landscapes
September 20, 2013
October 20, 2013
October 30, 2013
Spring 2014
Editorial
Ad Closing
Ad Materials
Glass in the Garden— Glass Flowers, Planters, Birdbaths, and Garden Art
December 20, 2013
January 20, 2014
January 30, 2014
GLASS PATTERNS QUARTERLY/Fall 2013
3
3 From the Editor
Traditional Trends
by Delynn Ellis
Table of Contents
6 Golden Holiday Wreath
Design by Chantal Paré
Fall 2013
10 Mad Etching Skills
Etched Halloween Haunted Birdhouse
Design by Carmen Flores Tanis
20 The Moon by Night
Design by Tingley Glass Studio
26 Southwest Boot
and Cactus Ornaments
An Introduction to Stained Glass
Design by Alysa Phiel
30 Fall Maple
Design by Paned Expressions Studios
32 Nutcracker
Design by Christie Wood
33–48 16-Page Full-Size Pattern Section
50 Penguins Bearing Gifts
Design by Valerie Adams
54 Fused Glass Nativity Ornament
Design by Jane McCaulley
57 Cornucopia Plate
Design by Lisa Vogt
58 Teacher’s Corner
Teaching Tips
by Dennis Brady
60 My Thick Skull
Glow-in-the-Dark Fused Halloween Plate
Design by Leslie Gibbs
64 Fractal Ornament and Gift Box
Design by Susan McGarry
67 Modern Victorian
Design by Christie Wood
68 What’s New
by Darlene Welch
72 Santa
Design by Jean Beaulieu
73 Stained Glass Supply Shops
77 Christmas Tree
Design by Jean Beaulieu
78 Advertisers’ Index
4
Active and
Voting
Members
of
Volume 29 Number 3
Golden Holiday Wreath
Design, Fabrication, and Text by Chantal Paré
T
raditional glass painting, with its
characteristic dark lines, grisaille,
and yellow silver stain, evokes the
medieval windows that are part of our
architectural and cultural heritage. This
golden wreath transposes a centuriesold technique into a thoroughly modern
design of bold, patterned balls enlivened
by striking glass textures.
You can easily personalize this
wreath with the glass colors and texture
combinations of your choice and even
vary the shades of silver stain and
grisaille or add more colors with
enamels. Further, the central Artique
glass piece can be painted with your favorite holiday message and calligraphic
style. The ambitious glass painter might
even consider painting a family portrait.
This 16"-diameter wreath has few
pieces. With just two firings required, it’s
a breeze to craft, thus making it perfect
for gift giving.
Wissmach Glass Co.
01 Clear Hammered, 1/2 Sq. Ft.
Spectrum Glass Company
180.8A Pale Gray Artique for Wreath Center, 1 Sq. Ft.
100S Clear Seedy, 1 Sq. Ft
100C Clear Cord, 1/4 Sq. Ft.
100GG Clear Crystal Ice, 1/2 Sq. Ft.
6076-83CC Inferno, 1/4 Sq. ft.
Additional Glass
Smooth Float Glass for Mixing Palettes, Scrap
Reusche & Co.
Silver Stain
1383 Orange #2 Silver Stain, 1 teaspoon
Traditional Glass Stainer Colors
1059 Stencil Black, 1 heaping tablespoon
1139 Umber Brown, 1 heaping tablespoon
6
Tools and Materials
Fine-Point Marker Gum Arabic
Whiting Putty Rag Palette Knife
7/16" Black-Backed Copper Foil
60/40 or 50/50 Solder Flux Cleaning Brush
14-Gauge Pre-Tinned Wire Water Badger Brush
Long-Bristled Liner Brush Wide Artist Brush
Hog Bristle Brush Stiff Buffing Brush
1
Begin by
painting each
piece with the
tracing black
according to the
pattern using a
long-bristled
liner brush.
Lay the clear
glass, in turn,
on the pattern with
the textured side down
and trace each pattern
piece separately with
a fine-point marker.
You will be painting on the smooth side of the glass.
Cut all of the
traced glass pieces
and grind them as
needed to a perfect
pattern fit.
Remove any
residue from
the glass with
whiting.
2
5
Do not retouch already dried paint with a wet brush. You can
scratch off any excess with a fid or use the wooden end of a paint
brush that you’ve run through a pencil sharpener to remove any
mistakes before repainting.
Place the
painted glass
pieces, paint
side up, on primed
kiln shelves and
fire only to 1050°F
to preserve the texture
of the glass.
6
3
Now, on to the grisaille.
7
All too often, glass has invisible patches of water-repellent industrial surface residue on the glass where it’s not possible to paint.
Remove any residue before starting to paint by rubbing the glass
surface with a rag dipped in whiting, then rinse off the whiting.
4
Using a piece of smooth scrap
float glass as a mixing palette,
prepare about 1 heaping
tablespoon of the Reusche Black
by removing any lumps, then lightly
sprinkle gum arabic no larger than
the size of a pea over the color.
On a piece
of smooth scrap
float glass, prepare
about 1 heaping
tablespoon of the
Reusche Umber
Brown and lightly
sprinkle a volume of
gum arabic no larger
than half the size of a pea.
Using a palette
knife, prepare the
Umber Brown by
first removing any
lumps, then mixing
it well with enough
water to reach the
consistency of milk.
8
Mix with enough water to reach the consistency of cream.
7
12
Solder all of the
pieces together,
taking care to tin
all the outer edges.
9
In small batches, use a fairly
wide brush to cover the smooth
side of the painted pieces with
the Umber Brown paint and
smooth with a badger brush
before the paint dries.
13
Solder the
copper wire
around the project
and cut at the place
where the two ends
abut around the circle.
You may lay the project on a moist sponge to bead the outer edge
from the sides. This step requires time and patience.
14
10
Bend some of
the pre-tinned wire
to form hooks and
solder to the came
where it meets a
lead line.
Using a
hog bristle brush
and a stippling motion,
lift off the paint on
the dried grisaille to
produce the highlights.
Make sure that the strongest highlights are completely devoid
of grisaille. Try to gradually increase the amount of paint left after
stippling around the highlights from 0 percent to 100 percent to give
a three-dimensional illusion to the balls.
Prepare a teaspoon of the yellow silver stain powder on scrap
float glass, add water, and mix with a palette knife to a creamy consistency. Then select some of the balls that are to be colored with
the yellow silver stain and generously apply the yellow paste to the
underside of the pieces (the textured side) so that the grisaille is on
top of the glass and the yellow silver stain is beneath it.
Arrange the painted pieces on the primed kiln shelves with
the grisaille up and the silver stain down. Fire only to 1050°F to
preserve the glass texture but hold for 20 minutes to get good stain
penetration. Brush off the yellow silver stain paste residue from
the cooled pieces.
15
Buff the lead
with whiting and
a stiff brush.
Glass paint tends to develop an unattractive dull finish if it comes
in contact with a patina chemical. Therefore, it is best to buff the
lead with a stiff brush and whiting as with lead came. The lead will
begin to darken slowly, and time will make it turn a beautiful, dark
slate gray. Finally, wash off the excess whiting with soap and water,
and your project is ready for display.
GPQ
11
Foil the glass,
making sure to
adequately cover
the edges on the
textured sides.
8
© Copyright 2013 by Glass Patterns Quarterly.
All rights reserved.
A decade ago, Chantal Paré quit the fast-paced
world of molecular biology to devote herself to the
full-time pursuit of glass. She’s liable to melt it, blow
it, break it, paint it, or cast it, sometimes just to show
it who’s boss. Nothing else comes close to creating an
object through which light can pass the same way it
does through water. In her free time, Chantal draws
patterns in a variety of styles ranging from Victorian
to geometric and self-publishes them on the Internet.
Lately, she’s concentrating her efforts on glass painting.
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9
Mad Etching Skills
Etched Halloween Haunted Birdhouse
Design, Fabrication, and Text by Carmen Flores Tanis
Y
ou’ve heard of haunted houses, but have
you ever heard of a haunted birdhouse?
This fun etching project is just that. It’s haunted
because there is no way in and no way out! But
that’s okay, because at about 5" tall, it is purely
decorative and not meant for real birds—at least
live ones.
This little house is made of Cyan Red dichroic glass, which has the interesting property
of changing colors depending on the angle of
view. In this tutorial, you’ll notice that sometimes the glass in the photographs is orange and
sometimes it is green or yellow, depending on
the camera angle. I was happy to find that the
color changing ability of dichroic glass could
add such a delightful surprise, yet still keep
within the color palette of vintage Halloween
decorations, which are typically limited to one
or two colors plus black.
Coatings By Sandberg Dichroic Glass
Black-Backed Cyan Red, 1/4 sheet
Black Glass, 2‑1/2" x 2‑3/4"
Tools and Materials
Halloween Birdhouse Artwork
Mad Craft Skills™ Printable Resist Film, 1 sheet
26-Gauge Copper Sheet, 9" x 5‑1/2"
Access to Laser Printer or Toner Copier
Scissors Glass Cutter Alcohol or Glass Cleaner
Paper Towels Pancake Griddle or Electric Skillet
Oven Mitts Ceramic Tile or Heatproof Surface
Plastic Spatula Tweezers Etchall® Etching Cream
Squeeze Bottle Paint Brush Protective Gloves
Plastic or Glass Dish Non-Acetone Nail Polish Remover
Fine-Tipped Yellow or White DecoColor® Paint Marker
All Natural Orange Cleaner Flux Solder
1/4" Copper Foil Foil Burnishing Tool
Soldering Iron Black Patina
Finishing Compound or Wax
Metal Shears Awl or Ice Pick
T-Square/Ruler Die Cut or Embossing Machine
Metal Folding Tool Heavy Chipboard, Scrap
Sizzix® Texture Fades Embossing Folder Tim Holtz® Cobwebs
Pliers Metal File
10
And what is a house without a roof? This spiderwebcovered roof may look difficult, but it is, in fact, super easy
thanks to the magic of a readily available die cut machine.
The real trick to this little house is using a printable resist film, which allows for great detail when etching glass.
The images are printed onto a sheet of Mad Craft Skills™
Printable Resist Film, then applied to dichroic glass. It’s
very easy and inexpensive. Although you can use your own
images with this resist film, we’ve provided the Halloween
artwork so that all you have to do is print and etch. Now
that’s a treat!
1
Cut out one cat,
one owl, and the
two tall pieces from
the blue resist film
sheet leaving two
tabs on the opposite
corners of each
cut piece.
Prepare the pattern
and trace it onto the
dichroic glass.
Scan the artwork and print one copy onto plain white paper.
Cut the pattern pieces apart and trace the patterns onto the dichroic
glass with the paint pen. You’ll notice that there are extra images
on the sheet. For this project you only need the two tall pieces, one
cat, and one owl.
2
Cut the dichroic
glass pieces with
a glass cutter, then
cut one 2‑1/2" x 2‑3/4"
piece of plain black
glass for the base.
Remove the paint pen from the glass with a little natural orange
cleaner and a paper towel. Then use glass cleaner and paper towels
to carefully clean the glass pieces. You can set aside the piece of
plain black glass until later for when you get ready to solder.
Print one copy
of the artwork
onto the sheet of
Mad Craft Skills
Printable Resist
film using a laser
printer.
4
These little tabs will help you later when you check on the progress of the transfer. You can hang on to the extra cat and owl pieces
from the blue sheet and use them on another project. You are now
ready to apply the resist film to the glass.
To adhere the
resist film onto the
dichroic glass, use
an electric pancake
griddle or electric
skillet along with a
plastic or nonstick
spatula and a pair
of oven mitts.
5
Clean the glass one more time with glass cleaner and dry well.
Set the glass on the griddle, dichroic side up, and set the heat to
about 100°F or “low.” Slowly heating the glass like this helps avoid
any cracking and will help the resist to stick more easily.
6
After about 5
minutes when the
glass is warm to the
touch, carefully and
quickly place the resist
film, dull side down,
onto the glass.
3
Important Note: You can’t use an inkjet printer with the resist
film. You need the toner from a laser printer or copier. The toner
contains plastics and carbon that make for a very effective resist. I
have had very good results using the HP LaserJet and the Samsung
CLP-300. Be sure to set your printer on high quality. If you don’t
have a laser printer, not to worry. Just take your black-and-white
artwork to the copy shop and have them print it onto the resist film
using one of their toner copiers.
The resist film has a dull side and a shiny side. Be careful when
handling the blue film to avoid scratching the all-important powdery
dull side. You want to print on the dull side, so make sure to load the
sheet correctly for your particular printer. In other words, load the
resist paper in the same orientation as if you were loading a sheet
of address labels for printing.
Line up the edges of the film with the edges of the glass. The
film should stick to the glass very lightly. If the film doesn’t stick
yet, don’t worry. Just turn the heat up a little and try again in a
minute or two.
7
Once you’ve
placed the film
onto the glass, use the
edge of the spatula to
firmly rub and burnish
down the film onto
the glass, squeezing
out any trapped bubbles.
Be careful here, because some griddles are not completely flat.
Your glass might crack if you press down on it in an uneven area
of the griddle. Once you get familiar with your griddle and know
which areas are the flattest, you can put some muscle into burnishing the film.
11
Now it’s time to turn up the heat. This will take a little bit of
experimenting on your part to find the optimal temperature for
your particular griddle or iron, since all appliances vary. The final
temperature should be between 275°F and 325°F on a griddle or
electric skillet. For my griddle, I raise the controller setting to 325°F.
Let it cook about 5 minutes, then burnish again. You’ll see the
image through the blue film begin to darken and turn black as it
starts to melt and transfer onto the glass. At this point you can better
gauge the temperature of the griddle. If the blue film is starting to
curl up at the edges or your image is looking a little smeary, then
the griddle is too hot and you need to turn the heat down a little.
Flip the glass over so that it is film side down on the griddle. Let
it heat about another five minutes, then flip the glass back over, film
side up. Use the spatula to burnish the film down again. Pay extra
attention to any areas where the resist detail is particularly important
such as the pumpkin faces or the cat’s eyes.
8
transferred, then everything is still okay. We will patch up those
missing spots next.
But what if the important areas of your image smeared or you
realize that your blue film had a scratch in it? It’s easy to start again.
Use some non-acetone nail polish remover to remove any resist
from the dichroic, and you are ready to begin again with a fresh
print of your design.
10
If there are
any areas where
the resist did not
completely transfer
to the glass, use the
DecoColor paint
marker to patch up
the missing spots.
This brand of paint marker works great as a resist on its own. I
prefer the yellow or white just because they are easier to see. On
pieces like these where there is so much dichroic in the open areas of
the background, I like to doubly insure the resist by painting over it
with the paint marker. Let the paint marker dry at least 10 minutes.
Use the tweezers
to gently peel back
one of the tabbed
corners.
If you bend down and look through the blue film, you should start
to see that there are now large clear areas where the black resist has
transferred from the film onto the glass. If nothing has transferred
at all, then turn the heat up on the griddle a little. It takes 10 to 15
minutes of heating, checking, burnishing, and flipping for all the
black resist to transfer onto the glass.
When you see that the film is pretty clear with little or no black
when you lift first one corner of the film off the glass then the other,
burnish it down one last time and move the glass onto the ceramic
tile or heatproof surface. Let it cool for a minute or two. What happens here is that the film cools more quickly than the glass, which
helps the now sticky resist to transfer more easily onto the glass.
9
Apply the Etchall
etching cream.
11
For this part, I like to wear latex gloves and work either outdoors
or in a well-ventilated room on a table covered with newspapers.
A good tip is to pour the Etchall into a squeeze bottle. It doesn’t
matter whether the bottle is little or big. It will give you much more
control over the application of the cream than if you just scoop it out
of the jar. Squirt some Etchall onto a brush and paint it generously
all over the dichroic glass.
If you are working on a hot day and you find that the cream has
dried yet there is still some dichro visible on the glass, just add a
little more cream and let it etch a little longer. It will take about 10
minutes for the etching cream to work its wonders.
12
Use the tweezers to peel the
blue film from the glass.
You can see here that all the black resist has transferred from the
blue sheet to the glass leaving a mostly clear plastic backing sheet.
Do not worry if there are spots where the resist did not transfer.
You can see here how the right eye of the pumpkin is flawed. This
happens when dust or air bubbles are trapped in between the glass
and the film. As long as the areas with the most important details
12
Once you see
that all the color
has disappeared from
the glass, wash off the
etching cream under
running water and pat
the glass dry with
a paper towel.
Here’s where the magic starts. Although the glass looks horrible
and destroyed, do not despair! Here comes the grand reveal. First,
if you used any DecoColor paint marker on your pieces, remove it
with a little squirt of the natural orange cleaner and wipe clean with
a paper towel. Set the pieces inside a plastic or glass dish.
17
13
To remove
the black resist,
splash a little nail
polish remover on
the pieces in the
dish and let them
stand for about
5 minutes.
Flux and solder the four
dichroic pieces to the base.
Wipe away the now softened resist with a paper towel. Rinse
under running water. Is that cool or what?
14
In keeping with the spooky look of the little haunted house, I
added texture to the seams by tapping and lifting the soldering iron
to shape the solder.
18
Clean the glass
house with soap and
water, dry well, and
apply black patina
according to the
manufacturer’s
directions.
To really make
the dichroic pop,
fire-polish the etched
dichroic pieces using
the firing schedule on
the pattern sheet.
This is a good stopping point to show you how the glass pieces
will fit together after they are fired. The cat will go to the left of the
front piece, which has the spider on it, and the owl will go to the
left of the back pumpkin piece.
15
Wrap the four
dichroic pieces and
the plain black piece
with copper foil and
burnish well.
Apply finishing compound or wax to seal and add shine.
19
Every house
needs a roof, so
cut your sheet of
copper foil to size if
necessary—9" x 1/2".
A guillotine paper cutter works great!
20
Cut out a copy
of the Halloween
birdhouse roof pattern
and use the awl and a
ruler to transfer the
pattern markings onto
the copper sheet.
16
Fit the pieces
of the project
together according
to the diagram.
Score deeply enough so that you can see your marks.
Everything sits on top of the black base square. The front and
back pieces are each soldered at a 90-degree angle flush with the
edge of the base, and the two smaller side pieces are inserted at a
slight angle in between the front and back.
14
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15
A metal forming tool has a long slot on one side for forming a
1/2" lip in metal and a deeper slot on the other side for forming a 1"
lip. With the metal forming tool flat on a table, place one long edge
of the copper sheet into the 1/2" slot, making sure that the scored
1/2" line is aligned with the edge of the tool. Hold the copper sheet
down against the table as you lift the tool to bend the copper back
onto itself as much as possible. Then carefully remove the copper
sheet from the metal forming tool.
21
Use metal shears
to trim the corners
and the small triangles
from the copper sheet.
24
22
I like to wrap my pliers in duct tape to keep from accidentally
marring the metal. Repeat for the remaining sides of the copper
sheet, forming and flattening each edge.
Place the copper sheet in the
embossing folder and run it
through the die cutting machine.
This next step uses
an embossing or die
cutting machine, a
very popular tool in
the paper crafts. It’s
the crafters’ version
of the rolling mills
used in metalsmithing. I love it when all
of the mediums cross
over like that.
The selected material is passed through the machine with either a
shape-cutting die or with some kind of textured plate to add dimension. I used a double-sided texture plate that is a plastic embossing
folder with a raised spiderweb design on it. You can find these online
or at craft supply stores. Because the embossing folder is only half
the size of the copper sheet, you’ll have to run the sheet through
the machine twice to emboss both sides.
23
23
Use the sheet metal folding tool
to bend the copper sheet.
16
Use pliers and
two pieces of thick
chipboard to press
the folded lip flat.
25
Once all four
sides of the copper
sheet are folded 1/2"
flat, insert one long
edge into the 1/2" slot
and fold over again,
but this time only
90 degrees.
Repeat for the other long edge.
26
Fold one
short end
another 1/2", but
fold it so that it forms
a 45-degree angle.
Repeat for the other short end.
27
Use a metal
ruler to help you
as you carefully bend
what is now, essentially,
a copper tray in half.
17
28
Bend until the
roof angle matches
the angle of the top
of the soldered
glass house.
By now, the copper is so stiff and work hardened that you don’t
really need any kind of solder or rivet for it to keep its shape. It’s
like metal origami!
29
Use a little
metal file to soften any
sharp edges, then apply
black patina to the
copper roof following
the manufacturer’s
directions and use a
finishing compound for
shine and protection.
There is a little slack in how the roof fits the glass house, so you
have your choice. You can attach the roof to the glass house with a
little silicone adhesive, or you can leave the roof free and turn the
haunted birdhouse into a hidden treasure box! Now wouldn’t that
make a fun trick-or-treat treat? Enjoy!
GPQ
Carmen Flores Tanis is a mixed media
artist, crafter, and designer who specializes
in combining diverse materials in unusual
and unexpected ways. She has been working with glass for about fifteen years and
delights in sharing her discoveries with
fellow artists.
A Designer Member of the Craft and
Hobby Association, Carmen has two
successful online craft supply stores. She
has designed projects for Etchall, Jacquard, Smoothfoam,
KoolTak, and iLovetoCreate. Her secret to crafting happiness
is patience, practice, and power tools.
Carmen teaches glass and digital classes regularly at Coatings By Sandberg in Orange, California, and craft classes at
the Sawdust Arts Festival in Laguna Beach,
California. She lives in Glendale, California, with her beloved husband, Bruce, who
gives her invaluable advice on her crafting ideas, including the newest entitled
Mad Craft Skills kits for glass, metal,
wood, and leather. You can see more
of Carmen’s work at madcraftskills.com
and florestanisstudio.com.
Inspirational Metal For Glass Art
www.displayglassart.com
Take
your glass
project
further &
transform
it with
metal art.
Attach a
brushed
aluminum
cutout to a
colourful disc
for a unique
gift to give
or sell.
Explore more artistic possibilities with metal for glass. Visit our website & see where your imagination can take you.
18
19
The Moon by Night
Design and Fabrication by Tingley Glass Studio, Text by Jan Winemiller
Daytime
Uroboros Glass Studios
11-51-96 Clear/Purple/Blue/Green Fractures/Green Streamers for Sky, 2 Sq. Ft.
13-5605-96 Black Stringers and Frit on White for Birch Trees, 1 Sq. Ft.
Spectrum Glass Co.
422-1W Deep Olive/Sea Green Waterglass for Leaves, 1 Sq. Ft.
6011-85CC Hawkwings Pearl Opal for Landscape, 1/2 Sq. Ft.
Night Sky
Uroboros Glass Studios
60-5605-96 Black on White Streaky for Branches, 1 Sq. Ft.
00-756 Clear/Green-Blue/Dark Green for Leaves, 1 Sq. Ft.
00-33 Honey-Amber for Moon, 2 Sq. Ft.
Spectrum Glass Co.
433-1W Deep Steel/Sky Blue Waterglass for Sky, 2 Sq. Ft.
6011-85CC, Hawkwings Pearl Opal for Landscape, 1 Sq. Ft.
838-74S Steel Blue/White for Clouds, 2 Sq. Ft.
20
Tools and Materials
Cutter Steel Pins Running Pliers
Came Bender Grozier Pliers Scissors
Vellum Pencil 14" and 20" Homasote® Boards
Glass Garden’s 12" and 18" Circle Layout Forms
Soldering Iron Painter’s Tape Spray Adhesive
1/2" Lead or Zinc Came Uncoated Paper Clips
7/32" Black-Backed Copper Foil
1/4" Black-Backed Copper Foil Finishing Wax
Flux Solder Flux Remover Patina (optional)
Cleaning Compound
T
his design offers artists a way to make two different projects
from one pattern. By itself using the fracture/streamer glass as
a background, it presents as a lovely daytime scene, but change the
background glass in the smaller version and incorporate it into a
larger design and you have a dramatic, moonlit night sky. Keeping
both versions perfectly round during construction is made easy by
using the Layout Forms available from The Glass Garden LLC.
1
Cover the original
pattern with a sheet
of vellum for protection,
position the 12" layout
circle on top, and pin
everything to a piece
of Homasote board.
4
Apply the pattern
pieces to the glass
in preparation for
cutting the glass pieces.
If cutting on the front of the glass, be sure to spray the back of
the pattern. If cutting on the back of the glass, put the adhesive on
the front of the vellum and turn it over when you put it on the glass.
Be sure to press down all of the edges and points, then wipe away
any excess adhesive. An old fid works well for this.
5
2
Cut as close to
the pattern shape
as possible by using
the edge of the vellum
as a guide for the
cutter head.
6
Trace the pattern onto
a vellum sheet and cut out
the pattern pieces.
You can trace the pattern pieces and cut with foil scissors or
draw the pattern directly onto the glass for cutting. However, our
favorite method for ensuring a perfect fit for every piece requires a
slightly different approach.
Identify the most important shapes in your design—in this case,
the branches and leaves. Lay a small piece of vellum over the design
and trace the first piece you are going to cut. Cut out the pattern
piece with regular scissors.
3
Grind each piece to
exactly match the paper
pattern and remove the
vellum from the glass
using hot water and a
little soap, such
as Simple Green.
7
Using Super 77 or other spray
adhesive, lightly spray the
pattern piece and place it on
the smooth side of the glass.
To avoid adhesive overspray, we find it helpful to set up a spray
station using newspaper atop a trash can.
Clean, dry, and
foil each piece of
glass as you cut it.
21
8
12
Remove the pins
and lift off the 12"
Layout Form, then
carefully slide the
12" circle into the
larger design and
pin in place.
Pin or tape the
cut and foiled pieces
in place on the
Homasote board.
9
Once all the prominent pieces
are cut, ground, foiled, and
secured in place, use them as
a guide to create vellum patterns
for the spaces in between.
13
Use scraps of
vellum to make and
cut patterns for the
remaining pieces in
the big circle.
14
In this case, the sky pieces are cut after the leaves and branches
are finished. This way, each bit of sky will exactly fit the open space
in the pattern, and we have a perfect fit with minimal grinding.
To ensure a
perfect fit, cut,
grind, and foil each
piece, then use it to
trace the pattern
for the next one.
Using the Layout Circle will make this easy.
10
Use the Layout
Form to provide a
secure and uniform
edge for tracing the
vellum pattern pieces.
15
This handy tool ensures your finished piece will be a perfect
circle. When we finish cutting all of the pieces by this method,
the project is already foiled and ready to solder. If you are making
the night sky version of this pattern, tape the pieces together with
painter’s tape and follow the instructions below.
11
16
Set up the larger
Homasote board,
position the pattern,
cover with vellum for
protection, and position
the 18" Layout Form.
Pin everything down securely. Once you have assembled the
pieces for the 12" circle (see steps 1 & 2), tape them together using
blue painter’s tape.
22
Apply flux and tack-solder
the design in multiple places
to keep it together.
Remove the
pins from the 18"
Layout Form and
carefully lift it off,
then remove the
painter’s tape and
finish soldering the
front of the design.
~built by artisans for artisans ~
SCREEN MELT
SETS & SYSTEMS
Eric Markow (left) and Thom Norris (right) with their Paragon Pearl-56. Eric and Thom spent several years
developing the woven glass technique shown above. Photo by Marni Harker.
STEEL RING MOLDS
“We love the even, consistent heat of the
Paragon Pearl-56” — Markow & Norris
STEEL MOLDS
REVERSIBLE MOLDS
WEAVING MOLDS
CASTING MOLDS
FRIT MAKER
Eric Markow and Thom
Norris are noted for creating
woven glass kimonos, which
have been called “impossibly
beautiful.” The kimonos
weigh an average of 125
pounds.
peepholes in the front, two
vent holes in the top, mercury relays, and a ceramic fiber lid. The Pearl-56 firing
chamber is 30” wide, 56”
long, and 16 ½” deep (top to
bottom).
Eric and Thom fire their
glass in nine Paragon kilns.
“Now that we’ve done all our
testing, and have actually
cooked sculpture in the
Pearl-56, it is our favorite kiln
and we love the even, consistent heat,” they said recently.
If you are not yet ready
for the massive Pearl-56,
then choose the exact size
Paragon kiln that you need.
We offer a full range of glass
kilns from the small FireFly
to the intermediate Fusion
and CS clamshells to the
Ovation ovals.
The Pearl-56 has elements
in the top, sidewalls, and
floor. The kiln uses advanced
power ratio technology to balance the heat between the top
and bottom sections in increments of 10%.
SIFTER/SORTER
The digital Pearl-56 has
lockable casters, levelers, two
PACKAGED PRODUCTS
PRECUT STENCILS
Master Artisan products are available
from many wholesale distributors and
will be exibited by Victorian Art Glass
at GlassCraft & Bead Expo Las Vegas.
Master Artisan Products
566 David Street.
Victoria BC V8T 2C8
Tel: 250-382-9554
Fax: 250-382-9552
www.masterartisanproducts.com
For more
information
on these exciting kilns,
see your distributor, or
call us for a
free catalog.
Autumn Sunset Kimono by Markow &
Norris. The partners fire their glass in
Paragon kilns. Photo by Javier
Agostinelli.
Constantly finding ways to
make better kilns.
2011 South Town East Blvd.,
Mesquite, Texas 75149-1122
800-876-4328 / 972-288-7557
www.paragonweb.com
info@paragonweb.com
Finally!
Layout Frames
Circles
Ovals
Hearts
Octagons
Starting at
Custom shapes &
sizes available
Drilled holes easily
attach to project board
Impervious to heat
& chemicals
eglassgarden.com
608-754-3718
23
21
17
Place a second piece of
Homasote on top of your
piece (like a sandwich)
and flip the whole thing over.
18
Remove the top
layer of Homasote,
finish soldering the
back of the piece, and
remove the layout
forms when
completely soldered.
19
Use a came
bender to form
a round frame from
1/2" zinc came, then
trim it to size and
place it around
the piece.
20
Securely attach
the frame by soldering
it in place at each seam.
Using wire cutters, snip each
paper clip in half, then bend
each one with pliers.
22
Flux and
solder the clips
into place for hanging
the finished piece,
carefully clean all flux
residue from the
finished piece, and
apply patina,
if desired.
23
Finish with a
coat of NevRDull,
Liva, or your preferred
cleaning compound.
Hang & enjoy!
GPQ
More Options
For even more versatility, you can use this pattern and the
12" Round Layout Form to make a pretty fused-glass plate.
Layout Forms from The Glass Garden are available in circles,
ovals, and hearts in a wide range of sizes. They’re a great addition to your studio tool kit for hobbyists and professionals
alike. Visit the company’s website at www.eglassgarden.com
for more details.
Jan Winemiller is the founder and creative director of
Tingley Glass Studios & Store in Scranton, Pennsylvania.
Studio artists create stained glass windows, fused glass
tableware, dichroic glass jewelry, and more. Custom design
projects and expert repairs are a specialty. Tingley Glass also
hosts classes for students of all ages and abilities, and is the
region’s largest supplier of glass, tools, and equipment for
all aspects of glass craft. Visit www.tingleyglass.com to learn
more about Jan and her work.
24
Toyo Supercutter Series
®
NEW!
The last circle cutter you will ever need:
Studio-Size
Circle
Supercutter
• Self-oiling Toyo cutting wheel cuts 6 miles of glass
• Self-aligning thrust bearing for the cleanest score
• 13” bar for 3”– 25” circles (longer bars available)
®
• Demarcated suction cup
for easy alignment
Thick glass cutting heads are
available for glass 1/4”to 3/4”
in thickness
See the full line of Toyo tools from
Glass Accessories International
at your retailer or visit:
www.glassaccessories.com
EDCO COPPER FOIL
Look for the
gold circle blue
letters and it’s
in the bag.
HOLDING IT
TOGETHER FOR
GENERATIONS
TO COME!
• Excellent Quality
• Exact Tolerance
• Dead Soft Copper
• Best Tack and Adhesive
• Black Coated
& Silver Coated
• Vinyl & Paper
Sandblast Resist
• All copper foil can
be cut 1/8" up to 35".
• Customer names can be printed on the bags of foil
free of charge.
• All of our sandblast resist can be slit from 1/8" up to 24".
• Wider rolls of copper can be cut with craft shears
for different designs.
(866) 397-4777
(718) 788-8108
25
Southwest Boot and Cactus Ornaments
An Introduction to Stained Glass
Design and Fabrication by Alysa Phiel, Text and Photography by Jane McClarren
Glass
Stained Glass in Various Colors and Textures, Scrap
Tools and Materials
Glass Cutter Sharpie® Marker or Fid Running Pliers
Glass Grinder Grozing Pliers Disposable Gloves
7/32" Copper Foil 60/40 Solder Flux Flux Brush
Soldering Iron Solder Sponge Iron Stand Rheostat
Copper Patina (optional) Toothbrush
22-Gauge Copper Wire Wire Cutters Needle Nose Pliers
Scissors Glass Beads Fishing Line Glue Stick
Sponge, Rags, or Paper Towels Stained Glass Polish
W
hether you live in the Southwest or at the north
pole, these fun Southwest-inspired ornaments can
add pizzazz to the holiday season for a taste out of the
ordinary. Add a special touch to your Christmas tree or
gift wrapped packages, or use them as suncatchers in your
window. These ornaments come together very quickly and
easily, and they are a great project for using up some of
your stained glass scraps.
Before you start, you should be sure your hands are clean
and lotion free. That will help to keep your glass clean.
Cowboy Boot Ornament
1
Cut out the pattern pieces
and use the glue stick
to glue them to the glass.
26
2
5
Burnish the foil
to the edge of the
glass using a Sharpie
marker or fid.
Put pressure on the surface of the foil to smooth it onto the glass,
being sure to burnish the foil on the top edge and on both sides of
the glass. This is crucial. If you do not burnish the foil well, the
flux will get under the edges. Then when you solder, the foil will
separate from the glass.
Set the rheostat on your soldering iron and check the heat before
beginning to solder. While waiting for the soldering iron to heat up,
assemble the foiled pieces of the ornament.
Use the glass cutter to run
a score between the pattern
shapes, separate the glass pieces
with the running pliers, then use
the glass cutter to cut out the
separate glass pieces.
6
Use grozing pliers to break off
any pointy spots.
Using a flux
brush, spread flux
over the copper foil
on one side of the
ornament.
3
Grind all the
edges of each piece
of glass to help the
copper foil adhere
to the edges.
You may want to wear disposable gloves for this step, since flux
may cause irritation to your skin.
7
For the cowboy boot ornament, be sure that the pieces align with
each other correctly. If you choose to also make the cactus ornament
that follows the boot, the lineup isn’t quite as important, since the
cactus is built dimensionally. Make any necessary adjustments using
the glass grinder. Clean the glass well with rags or paper towels.
4
Tack-solder the
spots where the
pieces connect
to each other.
8
Looking straight
down at the edge
of the glass, center
the foil on the edges
of each glass piece
and adhere the foil.
Finish running
a bead of solder
over all of the edges
of the glass pieces.
Peel the copper foil so that the back peels away from you. Continue to adhere the foil all the way around the piece of glass, letting
it overlap approximately 1/2" at the end.
Carefully turn the boot over, flux the remaining copper edges,
and run a bead of solder over any remaining areas. Since you are
soldering a small piece of glass, use caution when turning the project
over, as the glass may be hot.
27
3
Tack-solder the
pot rim piece to the
edges of the cactus
pad and tack-solder
the cactus pad to the
cactus base.
9
Create the
hook for hanging
the ornament.
Turn the piece over and tack-solder the remaining cactus pad
into position.
Cut one 1" piece of wire and bend it into a U shape. Apply flux
to the front and back at the top of the ornament. Hold the hook with
needle nose pliers and attach it to the front and back of the ornament
at the seam. Solder the hook into place. Clean the finished ornament
in warm, soapy water to remove any excess flux.
10
Pour a small
amount of glass
polish onto a rag,
polish both sides
of the glass, and
buff with a clean
part of the rag.
4
Once the cactus
is assembled, create
the bead-decorated
hook for hanging
the ornament.
Cut three 1" pieces of wire. Add 6 to 8 beads to each piece of
wire and bend the wire into a U shape, keeping the beads within the
U. Cross the wires at the base. Apply flux to the edge of the cactus
pads where you want to attach a flower or fruit. One of these will
serve as your hook. Solder the wire ends to the edge of the piece.
You can decorate the ornaments with raffia for a little added
flair. Hang your finished ornaments with Christmas tree hooks or
fishing line loops.
Cactus Ornament
For the cactus ornament, follow the basic instructions for creating
the boot ornament through step 8. There are, however, some special
instructions for the actual assembly of the three-dimensional cactus
ornament and the creation of the decorated hanger.
1
Tack-solder the
cactus base to the
top of the pot base.
2
Run solder around
the front edge of the
cactus base.
5
Use pieces of
wire to create
the cactus needles.
Apply flux to the front edges of the cactus pads. Cut several short
wires to use as cactus spikes. Tack-solder the wires onto the edges
of the cactus pads. Trim the excess wire length off of the cactus and
bend the spikes slightly with pliers.
Clean and polish the cactus ornament the same way as for the
GPQ
boot ornament, and you’re done!
Alysa Phiel is a third-generation glass artist and has over
twenty years of experience creating in glass, teaching classes,
and creating custom work for private collections. In 2009,
she joined the staff of the Sonoran Glass School as a teacher
of fusing, mosaic, and stained glass classes.
Alysa’s creativity knows no limits, ranging from intricate
stained glass projects to Southwestern and ocean-themed
mosaics and fused pieces. Her range of knowledge makes
her a fantastic instructor for students looking to create any
type of glass art in Sonoran’s Warm Glass Shop.
28
The Vinery presents . . .
It’s never too late
to take care of
some of the names
on your Christmas
list with a GPQ
gift subscription.
Be
gin
nin
gF
us
i
& ng
Be
As
yo
o
fus urce
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rs
of
or
p
all rojec
skil ts
l le for
vels
.
d
20
ass proje
ort cts
ed
tec w ith
hniq
ues
.
Santa
by Jean Beaulieu
Ch
rist
Ideas for
the Stained Glass
and Fused Glass Artist
yR
ect
or
Available from your
favorite supplier!
Contact Santa’s
helpers at
800.719.0769 or visit
www.GlassPatterns.com.
The
Illustrated
Word
in Stained Glass Patterns
Now Available from
the GPQ Website
DVDs from Joe
Porcelli
Learn Professional Tips for Working with Glass in this DVD Series produced
by renowned Artist, Teacher, Author, and Producer Joe Porcelli.
Benefit from the Experience of Stained, Fused,
or Flameworking Professional Glass Artists.
Twenty-One
Inspirational Patterns
by Karen Stephenson
800-719-0769
These 16 instructional DVDs feature
Ron Bearer Jr
Michael Dupille
Tommy Giambusso
Molly Heynis
Peter McGrain
Joe Porcelli and
Lisa Vogt
as they share their techniques
for success in creating with glass.
Visit the “Books, CDs, and DVDs” link under the
“Store” drop-down at www.glasspatterns.com for more details.
29
Fall Maple
Design and Text by Paned Expressions Studios
T
his 24" x 24" panel is from the Our Favorites Pattern collection.
Included are over 100 of the patterns created and chosen by Paned
Expressions Studios from work over the past thirty years. Everything
from exotic birds, nature’s wonders, and florals to sports and recreation,
fantasy and mythology, and religious icons are packed into this user
friendly CD. If you have a computer with a CD-ROM drive and software
that lets you view pictures, then you are ready to go.
The full-size patterns in this collection are rendered in JPG, TIF
and EYE (Glass Eye 2000) formats for use with image software that is
already installed on most PCs and Macintosh computers. Also included
are the full-color glass images for each design, which you can print on
GPQ
an 8‑1/2" x 11" page as a color guide.
Wissmach Glass Co.
94-L Medium Purple/Amber/Opal/Crystal
for Background, 4 Sq. Ft.
27-D Selenium Orange/Opal/Crystal for Leaves, 2 Sq. Ft.
WO-17 White Opal/Red/Orange for Leaves, 3 Sq. Ft.
145-SP Dark Amber/Opal/Crystal for Leaves. 2 Sq. Ft.
10-D Orange/Light Green/Opal for Branches, 2 Sq. Ft.
Tools and Materials
7/32" Copper Foil Flux Solder
Black Patina Copper Wire
1/2" Zinc U-Chanel Wood Frame
30
“Flight into Fantasy”
Three Dimensional Kits
Each kit contains a solid cast body that
accepts copper, antique patina or paint,
and a full-size pattern with instructions.
“Flight Into Fantasy” kits offer
Hummingbirds, Angels, Cardinals,
Eagles, Ducks, Rooster, Dragons,
Elf & Santa Faces, Dove, Moths,
Flowers, Fairy Lady, Butterflies,
Macaw, Parrot, and Victoria.
Available at your local
stained glass supplier
Saw Blades and Replacement Parts
... IN STOCK ... NO WAITING!
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Gryphon Omni-2 Plus+
Don’t
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Sign up for our semi-monthly email newsletter and we’ll be happy to send a copy of our CD-rom catalog to you. Loaded with more
than just products – you’ll ﬁnd hundreds of free patterns, Spectrum’s Score mini-magazine, hot glass tips, glass history and MORE!
111 Industrial Parkway
Buffalo NY 14227-2712
www.SunshineGlass.com
A quality-conscious supplier!
Toll-free: 800-828-7159
gpq08@sunshineglass.com
31
The Nutcracker
Design by Christie Wood, Text by Delynn Ellis
N
othing highlights the anticipation of the Christmas season
better than the annual return of The Nutcracker ballet.
This beloved character has been a symbol of the holidays for
years. Now you can make this lovely design to add to your
seasonal decor or gift giving. The 4‑1/2" x 14" size shown here
would make a nice window decoration, or you could consider
putting your nutcracker in a stand next to the fireplace for
warm holiday cheer. You can also downsize the pattern and
turn him into a Christmas tree ornament.
This pattern can be found on the pattern CD, A Christmas
Celebration, from Dragonfly Software. This is a collection of
60 stained glass patterns from Christie Wood depicting themes
of Christmas and the winter holidays. Included are designs
for angels, nativity scenes, wintery nature scenes, Victorian
Christmas card themes, Christmas symbols, and, of course, a
generous selection of Santas. The pattern CD can be ordered
at www.dfly.com.
Although glass pieces can be cut for all of the nutcracker’s
features, Christie favors painting the eyes and teeth. She
prefers kiln-fired glass paints, but if you’d like to skip using
the kiln, Deca glass paints, low-fire or no-fire paints that can
be found in most hobby stores, or even glossy enamel paints
such as Rustoleum, can be used instead. Artists will need white
for the teeth plus blue and black for the eyes. The blue paint
must be thoroughly dried before applying the black paint for
GPQ
the pupils.
Wissmach Glass Co.
WO-28 Orange/Opal for Jacket, Nose, and Socks, 1/2 Sq. Ft.
145-SP Dark Amber/Opal/Crystal for Jacket,
Hat, and Pants Accents, 1/2 Sq. Ft.
155-LL Dark Purple/Green/Light Opal/Crystal for
Hat and Boots, 1/2 Sq. Ft.
238-L Dark Purple/Dark Blue/Opal/Crystal for Cuffs, Scrap
600-D Dense Opal/Light Gray for Beard and Hair, Scrap
58-L Medium Amber/Opal/Crystal for Face and Hands, Scrap
34 Medium Amber for Cheeks, Scrap
118-LL Cobalt Blue/Opal/Crystal for Eyes, Scrap (Optional)
51-DD Dense White for Eyes and Teeth, Scrap (Optional)
Tools and Materials
32
Spectrum Glass
presents: The
System 96® Glass
Project Guid
e
Craft Program
Natural Accent
s
Glass Cutting:
Minimal
Multiple Firings:
Frit Cast + Full
Fuse
Using Frit Cast
ing molds from
1
Preparing the
+ Tack Fuse +
Colour DeVerre
ning, plates,
platters and bow
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Project Guide
Looking for fun and easy project ideas? You’ll
find step-by-step instructions to make over 60
fused glass projects on our website. Print out
your favorites and keep them handy for easy
reference. System96.com
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Penguins Bearing Gifts
Design, Fabrication, and Text by Valerie Adams
I
t may be summer in the studio, but every year I have a winter
theme brainstorming session with lots of sketches and experiments
to determine what new fused glass ornament I’ll reveal during my
holiday shows. I’ve made snowmen, snowflakes, icicles, and more,
but none have been as popular as my cheerful penguins bearing gifts
and decorated trees. I can’t help but smile as I open the kiln to see
their little faces peering up at me, and I know you’ll enjoy making
a few of your own.
One of the things that makes these little guys so much fun is
allowing them to be a bit random. They can be taller, wider, bigger,
smaller, or lean one way or the other. You get the picture.
Compatible Fusible Glass
All Pieces cut from Scrap Glass
3 mm Black or Dark Colored for Penguin Body
3 mm Glass in Various Colors for Hats
2 mm White or Light Colored for the Penguin Belly
2 mm in Desired Colors for Trees and/or Gifts
Assorted Frit Balls, Dichroic Balls, Murrine, and Stringer
Tools and Materials
Heavyweight Paper Pencil Scissors
Sharpie® Marker Basic Glass Cutting Tools
Grinder Mosaic Nippers (optional)
Nonaerosol Hair Spray Glass Cleaning Supplies
50
1
Create the
patterns for
the penguin bodies,
hats, and beaks.
Creating a cutting pattern is very simple. Start with the overall
body shape you’d like. Mine are basically a curved triangle with
the top cut off. Since I usually make multiple penguins, I keep the
top and bottom edges of the dark body parallel so I can cut strips
of glass to the height I want, then cut the curved sides.
For the white part of the body, repeat a similar shape to the
background but cut it narrower and just a bit shorter than the darker
glass. The hats are curved triangles. Make sure the straight bottom
edge is just wide enough to overlap the dark body by about 1/4".
Cut out the
pattern pieces,
transfer the shapes
to the glass, and cut
out the glass pieces.
2
Perform a
tack-fuse to help
keep the small bits
of glass in place.
For the penguin body, use 3 mm black glass or iridescent black
glass if you want to give the penguins a bit of sheen. You can actually choose any color you like, since they’re so whimsical. I also
use 3 mm glass for the hats. This is a great way to use up some of
your scrap opal glass.
Cut the white body from 2 mm glass to reduce the weight of the
ornaments. After you’ve cut out the pattern, trace it onto the glass
and cut out the shapes.
3
After cutting out the bodies you’ll be left with some nice curved
shapes that lend themselves to making the penguin’s flippers. If
you’re using iridescent glass, be sure to reverse the pattern for one
flipper so you wind up with a left and right flipper that each have
the iridescent coating on the top surface.
Cut out small
squares for the
gifts and triangles
for the trees, then
decorate them with
scrap glass, frit,
and other small
bits of glass.
I’ve had better success with keeping some of the tiny bits in place
by doing a quick tack-fuse on the hats, gifts, and trees. I assemble
them directly on my kiln shelf, but feel free to use some inexpensive
nonaerosol hair spray or your favorite glue. In my kiln, I fire these
elements at 600°F per hour until they reach 1300°F, then let them
cool naturally since they’re small.
Clean the
glass and
assemble the
bodies.
Cut out the
penguin flippers.
4
5
6
Before cleaning, you can use the grinder to round the corners
of the white body sections if desired. Place the white glass on the
background, allowing about a 1/4" gap at the top to accommodate the hat, since it needs the overlap to connect
to the base.
Arrange the eyes and beaks, keeping them
near the top of the design. I like to use tiny
eyes on some and larger ones on others to
mix things up. Also note in the photo the
tiny black squares I’ve nipped. They’ll
be little risers to help the flippers
remain level.
Since my penguins are bearing little gifts, I cut out small squares
for packages and triangles for trees from 2 mm glass. This is the
time to pull out those scrap bins to add some variety. Prefired “frit
balls” make great eyes and tree toppers, and dichroic dots or murrine act as pom-poms on the tips of the hats.
Bits of stringer are applied as ribbon on the gifts and 2 mm glass
nipped into triangles with a mosaic nipper make the bows. This is a
good place to add variety to your penguins. They could be holding
anything you desire. Beaks in different triangle shapes, also cut
from 2 mm glass, add individual character.
51
Since the white body and gifts add extra dimension to the base,
it’s essential to elevate the flippers with a tiny glued-on riser so they
don’t slide off during firing. Place the flippers on the body, overlapping the gift or tree. Sometimes it’s necessary to trim the outer end
of the flippers so they don’t overlap each other, so check this before
attaching the riser. Now you’re ready to fire.
7
Overlap the
hats onto the
dark body.
9
Since I glue these, it helps to place a piece of scrap glass underneath to keep them level with the body. Position the gifts, trees, or
other ornaments on the body.
8
Glue risers to the flippers and
arrange them on the penguin body.
Armour Products
Glass Etching Family
www.ArmourProducts.com
email: Sales@ArmourProducts.com
973.427.8787
52
Fire the penguins.
Since the ornaments have a single-layer base, it’s important not
to overfire them, since that would result in distortion. I like crisp
details, so I fire to a tack fuse. In my kiln, that’s 1325°F with a 10
minute hold.
Looking at the back, you can see why it’s essential that the hats
overlapped the bodies, since that’s how they’re attached. The risers
under the flippers lifted them enough to keep them level with the
gifts and trees but disappear when fired.
To finish the ornament, drill a small hole near the top of the hat or
glue a hook to the back. I prefer to drill with a 1 mm drill bit on my
Dremel tool. Since the hat is only a single layer, it’s quick and easy.
It’s fun to add variety by varying the style of hat they’re wearing, using different colors, or having them hold other items. These
whimsical penguins are sure to make you smile. They’re fun to create, and they make welcome gifts. I hope you’ll enjoy this tutorial
as a jumping off point to exercise your own creative flair.
GPQ
A graphic designer for over thirty years,
Valerie Adams’ creative vision has centered
on conceptualizing, designing, and laying
out beautiful printed materials that convey
information, provoke thought, and create a
reaction. Today, she incorporates her design
principles of balance, focus, and harmony
while creating one-of-a-kind fused glass artwork. Her inspiration comes from the shadows, shapes, textures, and color
combinations found in her garden and the surrounding beauty
of Sonoma County, California.
Valerie’s passion for typography and lettering often appear
in her work, sometimes layered with imagery and abstract
color bursts. She continues to explore new directions through
technique-driven classes and has participated in a Professional
Artists in Residency program at the prestigious Pilchuck School
of Glass. An enthusiastic, talented, and generous teacher, she
inspires students via group classes and individual instruction
while covering a myriad of kiln forming methods. You can see
more of Valerie’s work at www.ValerieAdamsGlass.com.
Fused Fantasies
Stan dreams big ...
Stan thinks big ...
Now, Stan can create BIG!
Books now available from
Stan Price, Covenant Art Glass of Everett, Washington, asked Olympic Kilns to create a custom bell
kiln so that he could create larger commission pieces. Working with Stan, Olympic Kilns designed
a 29 cubic foot bell kiln (electronic lifting chamber) with a rollout floor. Stan thinks big, and now he
can create big! Learn more about Stan at www.covenantartglass.com.
Complete
step-by-step
fusing instructions!
See what Olympic Kilns can do for you!
800-719-0769
Phone 800.241.4400 / 770.967.4009 • www.greatkilns.com
53
Fused Glass Nativity Ornament
Design, Fabrication, and Text by Jane McCaulley
T
his sweet little nativity is the first ornament I designed when I started fusing glass. Its beauty lies
in the use of basic shapes and colors and is influenced
by my career teaching art to elementary students. While
the ornament is similar to my original design, it has been
refined over the past seven years, and I now proudly
share my journey with the fused glass nativity ornament
with you. I hope you enjoy mixing colors and designs as
much as I have and that your nativity becomes a tradition
that you pull out of your box year after year. I have sold
many of these to people from all across the states, and
I know that they have become a part of their own family’s traditions as well. (Friends of the Crèche is a good
organization to learn more about nativities in general.)
Spectrum Glass Company
291-61SF Champagne System 96®, Scrap
633.76SF Crystal Opal Blue/Aqua, Scrap
138AVSF Aventurine Blue, Scrap
SPSFS00 Clear Smooth System 96®, 1/2 Sq. Ft.
Coatings By Sandberg
Thin Black Silver Dichroic, Scrap
Tools and Materials
Kemper 17-Gauge Nichrome Wire
Original Super Glue® Morton System
Nippers Gemini Taurus 3 Ring Saw
1
Trace the pattern for the stable
onto the clear 96 COE glass, cut
the stable piece, and install the
hook for hanging the ornament.
Using the stable pattern, trace and cut the stable out of clear
glass. The stable does not have to be clear, however. You might like
to use a transparent or opalescent color instead.
54
Cut approximately 1" of nichrome high-temp wire. Bend the wire
in half to create the hanger, then super-glue the hanger to the peak
of the stable. You will need enough hanger above the roof so that
a ribbon or ornament hanger will go through it. You will also need
to make sure that the roof does not cover this wire later.
2
Cut a small strip
of champagne-colored
glass about 1/4" wide
and nip off small
chunks about the
size you want the
heads to be.
Cut one of the glass pieces smaller for Baby Jesus’ head. The
champagne glass will strike to a darker shade that’s more flesh
colored. I have also used other colors for the three faces. Pink and
light tan work well. Search through your 96 COE scraps.
I prefired these head pieces. I have done the heads both ways and
found that prefiring them looks the best. They do not get rounded
as nicely if I just fire them in the end with the entire ornament. I
usually do a bunch of the heads at a time or do other colors in the
batch for use in Christmas trees and other ornaments to make good
use of the firing. These round out nicely like the nuggets you buy,
except they are little mini ones.
When you’re ready to fire, there is one segment only: 900°F per
hour to 1510°F and hold for 10 minutes.
3
6
Cut the glass
pieces for the robes.
Cut the stars
from the dichroic
glass and prefire
them to make sure
you have figured out
the dichroic correctly.
Cut a square of 96 COE dichroic 3/4" x 3/4". I use dichroic with
and without patterns for the stars.
There is, again, only one firing segment: 900°F per hour to
1430°F and no hold.
4
Mark and cut
the pieces for the
stable roof and floor.
Using my Morton System, I cut a 1‑1/8" square from the robe
color that I have chosen. Spectrum makes beautiful specialty glasses
that are great for the robes.
Cut the square from corner to corner so you have two right isosceles triangles. (The two sides that intersect to form the 90-degree
angle of the triangles should be of equal length.) So that the two
figures are both facing the baby, the two 90-degree angles need to
face each other. You may need to cut a second square and make the
diagonal go in the other direction if you want your pattern a certain
way (all stripes horizontal, for example). Using your nippers, nip
off just a little of the point at the top. That way, there’s no chance
that the point will accidentally stick out of the top of the heads.
7
You can use almost any color for the floor and roof. Just make
sure that you coordinate these colors with everything else in the
ornament. You can use patterned, plain, or streaky glass for this. You
could even paint designs on them with fusible paint. How about a
wood grain design or swirly “starry night” designs?
Cut a 1/2"-wide strip about 8" long. I use my Morton System
any time I need to cut strips or squares, such as for the stars and
robes. Lay the right roof, left roof, and floor patterns on the strip,
then trace and cut.
Clean all of
the glass pieces
in preparation for
gluing them together.
8
5
Glue all of the pieces
together in the order given
below using regular Super Glue.
Cut the glass piece for the crib.
Decide on a color for the crib. You have lots of choices here, too.
Cut a short 1/2" strip of the color you choose. Lay the crib pattern
on the strip. Trace and cut the two sides first. Use the ring saw to
make the irregular edge across the top. I make one of the irregular
spaces big enough for the head to nestle into without a space between
the crib and the head.
I use regular Super Glue for all of these steps. The gel-type Super
Glue sticks, but it leaves a white residue that doesn’t burn away
cleanly. I have had to throw away ornaments, because I thought it
would act like regular Super Glue.
First glue the floor. Make sure that it’s lined up with the bottom
of the clear glass stable. Glue the roof next by lining up the roof
pieces with the clear glass roof of the stable. The right and left
spaces between the floor and roof need to be even. I use a ruler and
measure approximately 3/4" on each side from the bottom edge of
the roof to the top edge of the floor.
55
Glue the cradle in the center of the floor. Next, put Mary on
one side and Joseph on the other so that the 90-degree angles are
facing the crib.
I used tweezers to place the heads. Try to get them centered on
the top of the triangle robes and make sure that the tops of the robes
don’t stick out of the top of the heads.
The last thing to glue is the star. Turn the square piece of dichroic
like a diamond shape. Glue right across the joint of the two roof
pieces so that the diamond sticks up a little but does not completely
cover the wire loop.
9
Fire the
assembled, glued,
and cleaned ornament
to the schedule
provided below.
Segment 1: Ramp 500°F/hr. to 1150°F and hold 10 min.
Segment 2: 9999 (AFAP*) to 1445°F and hold 12 min.
Segment 3: 9999 (AFAP*) to 960 and hold 15 min.
*as fast as possible
Now your beautiful nativity ornament is ready to give to a special
GPQ
someone or display in your own home.
Stained Glass Made Easy, From Cookies to Cutters!
New
Welded
Rollers
After teaching art to K–5 students for
thirty-five years in the public schools of
Indiana, Jane McCaulley retired, giving
her more time to spend on glass fusing,
glass mosaics and, of course, family.
Jane has been working in fused glass
since 2005, and her education has come
from nationally and internationally
known glass artists. Her first experience with glass was a
mosaic mirror at an AEAI retreat for Indiana art teachers.
Jane continues to create glass from her studio in southwestern Missouri, where she is a member of the Joplin
Regional Artist Coalition and Spiva Center for the Arts. She
shares her love of glass by teaching at several art centers and
galleries in the four-state area as well as in her home studio.
That is also why she has taken this opportunity to share with
you. Once a teacher, always a teacher!
56
Ask to see them at your favorite retailer! Or call 1-800-250-1790
Cornucopia Plate
Design and Fabrication by Lisa Vogt, Text by Darlene Welch
S
pice up your Thanksgiving table with this colorful fused cornucopia plate. Also known
as the horn of plenty, this symbol of abundance is the perfect addition to anyone’s
holiday decor, whether you share it as a
gift or keep it to use in your own home.
This pattern is from Lisa Vogt’s book,
FireWorks: Fun and Festive
Fusing, which contains over
thirty easy-to-make fused
glass projects for all seasons
including Halloween, Christmas,
and Hanukah. This book is sure
to spark your imagination
with designs for beautiful bowls, plates, and
decorations. Firing guides
and assembly information are
included, and all of the projects
are shown in color to help with
glass selection. You can find it
at your local art glass supplier.
GPQ
Full Fuse Guide for 12" Project
with 2 Layers plus Accents*
Segment 5: Ramp 300°F/hr. to 120°F and no hold.
Slumping Guide for 12" Project
with 2 Layers plus Accents*
Segment 4: Ramp 300°F/hr. to 120°F and no hold.
*All kilns fire differently, so test-fire the guides
for your kiln and make adjustments as necessary.
Spectrum System 96®
200SF White for Base, 1 Sq. Ft.
215-72SF Terra Cotta for Basket, 1 Sq. Ft.
171SF Orange for Pumpkins, 1/2 Sq. Ft.
110.2SF Pale Amber for Squash and Gourd, 1/2 Sq. Ft.
121SF Light Green for Leaf, Gourd, and Pumpkin Stem, 1/2 Sq. Ft.
151SF Cherry Red for Leaf, 1/2 Sq. Ft.
110.8SF Medium Amber for Gourd, 1/2 Sq. Ft.
Additional Glass
Pale Purple Stringers for Basket Details (bent in a candle flame)
Dark Green Fine Frit for Leaf and Gourd Accents
Tools and Materials
11" or 12" Shallow, Round Plate Mold
57
Teacher’s Corner
Teaching Tips
by Dennis Brady
B
eing able to do something doesn’t mean you can teach it.
Although some people are better at it than others, teaching is not a talent. It’s a skill—a specialized skill that, like
all skills, can be learned and perfected. The most important
factor in teaching is the teacher’s attitude. How well you do
something almost always depends on the attitude you adopt
while doing it. Good teachers will want to teach everything
they know. Great Teachers will understand the importance of
being organized in order to do that.
Improving the Quality of Teaching
Many years ago a group of artisans and teachers got together to discuss teaching methods at the Victorian GlassFest
in Victoria, British Columbia, Canada. After a weeklong series
of assorted glass art classes, this group had a seminar meeting specifically to discuss teaching techniques and how to improve teaching quality in the glass art industry. From that discussion evolved
a proposed “Ethical Teacher’s Guide” that included eleven things
to remember as a teacher.
• Teach first. Sell second. The instructor should be there to teach,
not to sell products.
• Teach all alternatives. Don’t teach only your personal favorites.
• Teach everything you know. Hold nothing back. There should
be no “trade secrets.”
• Be honest. If you don’t know something or can’t answer a question, admit it.
• Be prepared. Plan ahead to make your class efficient and effective.
• Listen actively. Identify student needs and try to meet them.
• Be fair to all. Treat all students equally.
• Create participation. Get everyone involved, especially the shy
and reticent students.
• Create achievable goals. Provide tasks that students can be realistically expected to complete.
• Clearly define objectives. Be sure that all of your students understand what it is they’re trying to do.
• Supply any necessary tools. Students should not be expected to
buy tools.
58
Students show off finished projects completed
in classes at Stained Glass Station.
Planning for a Successful Class
Students asking questions can easily divert you from your original planned order and cause you to leave out something important.
Using a class plan as a checklist, however, will help you be sure you
covered everything you wanted to include in your class.
Any experienced teacher will tell you that another very important
aspect of teaching is being prepared to deal with difficult students,
because there will be some. If you teach long enough, you can be
sure that you will meet the:
• Chatster. More interested in talking to other students than in
doing any work.
• Time Hog. Wants to monopolize your time.
• Slowpoke. Falls behind the rest of the class.
• Speedster. Dashes ahead of the class.
• Know-It-All. Thinks he or she already knows everything there
is to know.
• Prodigy. Pulls ahead of the rest of the class.
• Gadfly. Takes loads of different classes but doesn’t put much effort into any of them.
• User. Just wants to use up as much material as possible.
• Unskilled. Lacks the skill level required to be successful in the
class and interrupts class flow for the rest of the participants.
• Wallflower. Shy or lacking confidence and avoids asking questions.
Classes are a big part of Rebecca Hite’s business,
Stained Glass Station, in Lee’s Summit, Missouri.
Honing Presentation Skills
Few people will pay attention for more than ten minutes without
some stimulation, so you’ll keep your students’ attention if you
provide some change at least that often. Use visual aids or pass
around examples. Ask questions or tell jokes. Humor is always a
great way to keep a class attentive. Build yourself a collection of
jokes to season your teaching.
Speak clearly, in simple language, and avoid jargon whenever
possible. Make every effort to speak to the whole group and not just
a few, be fair and consistent, and give each student equal attention.
Explain what you plan to do, using voice inflection and tone changes
to make what you’re saying more interesting. Now demonstrate
the technique, emphasizing skill development, and explain why
the technique should be done in a particular way. Be patient with
your students, remembering that some of them will take longer to
catch on than others. Also be enthusiastic and monitor your body
language. If you don’t look interested, they won’t be. Your enthusiasm, however, will be contagious.
If it seems that some students are having trouble fully understanding what you’re trying to explain, an effective way to help them
understand is to compare the process to something they are likely
to understand already. For example, in explaining the importance
of smooth, consistent, even pressure when scoring glass, try comparing it to an opera singer who can hold a note without changing
pitch or volume.
You can help your students get more out of the class by providing handouts that include the most important information you are
offering. If students are busy taking notes, it’s likely they aren’t
listening to what you’re saying as well as they should. A good
teacher will provide comprehensive handouts that eliminate the
need for students to take notes.
Moving from Ordinary to Extraordinary
The ability to effectively use detection/correction is what separates average instructors from exceptional ones. A great teacher will
try to detect each student’s specific problems and suggest practice
exercises to correct or improve skills. Develop a “bag of tricks” to
draw on. For example, if students seem to have trouble maintaining
steady pressure while scoring glass, you can have them practice cutting with glass on a bathroom scale so they can “read” the pressure
they apply and practice applying the correct pressure.
No matter how carefully you plan the time allotment for a class,
there is always something that can happen to speed up or slow down
how long you estimated the class will take. To allow for a class that
goes so fast you have time left after all of the students have finished
their projects and everything has been covered, you need to have
some “class fillers” available. Keep a variety of small projects ready
that can be done quickly but will keep students busy. You might
also want to prepare a binder or collection of photos of projects to
show students what they can aspire to as they build personal skills.
A good teacher also always has a toolbox full of good stories related
to the subject being taught. An interesting or amusing story is a
great way to end a class.
It’s not enough to show students how to do something. You must
motivate them to want to do it and provide steady encouragement.
Be liberal with praise, but not phony. Provide a series of small
successes to build confidence, and you will discover that student
confidence creates competence.
GPQ
Dennis Brady has been a full-time professional glass artisan since 1980 and currently
works with stained glass, fusing, casting,
glassblowing, and sandblasting. He has
authored and published six books of stained
glass patterns plus A Lazy Man’s Guide to
Stained Glass. Along with his sons, Dane and
Jason Brady, he operates several companies.
DeBrady Glassworks produces glass art;
Victorian Art Glass sells tools, equipment, and supplies; and
Master Artisan Products manufactures molds and tools for
glass artisans. He has also created the website Glass Campus,
which offers over 100 tutorials and videos teaching numerous
glass art techniques as well as tips on how to make a living
as a glass artisan.
Dennis teaches extensively in his home studio in Victoria,
British Columbia, Canada, and as a guest instructor in several other countries. His “push the boundaries” approach to
experimentation and innovation is always, “How fast can I go
until I skid into the ditch?” Visit www.debrady.com to learn
more about Dennis and his art.
59
My Thick Skull
Glow-in-the-Dark Fused Halloween Plate
Design, Fabrication, and Text by Leslie Gibbs
M
y familiarity with skulls has little to do with knowledge
about the human cranium, but rather more about the
often heard, at least by me, expression, “Try to get that into
your thick skull.” It appears that I am surrounded by a great
many inconsiderate people who show a lack of sympathy
for my dense brain box. Well, now is the time for me to get
even with all those intolerant individuals by exhibiting my
very empty skull on a platter.
What you may find unique about
this skull is this. First, there
is a lack of “crossbones.”
After all, I am not a pirate.
And second, it actually
has the ability to glow.
I am not certain that
my own skull has this
skill, but I have been
known to glimmer and
even emit sparks with
certain provocations.
We will not go further
into this frightening
territory. As an alternative, we can create my
radiant remnant for our
Halloween delight.
Photography by Jon Gibbs
System 96®
61-56-96 Black Iridescent for Base, 1 Sq. Ft.
100SFS Clear for Sealing Glass, 1 Sq. Ft.
F3-200-96 White Opal Powder Frit for Skull, 1/4 cup
Glow Inc.
Ultra Green Glow in the Dark Powder
Tools and Materials
White Transfer Paper Ballpoint Pen Toothpicks
White Craft Glue Small Paper Cups
Medium-Tipped Paint Brush Fat-Tipped Paint Brush
Square or Round Shallow Fusing Mold Mold Release
Heavy Construction Paper Black and White Sharpie® Pens
Disposable Protective Face Mask
DecoColor White Permanent Marker
Masking Tape Scissors or X-Acto® Knife
60
1
Select the size
and shape mold you
would like to use and
prepare the artwork.
I suggest at least a 6" to 8" square or round mold with a shallow
slump to it. Adjust the artwork to fit the size of the mold. Prepare
the mold with mold release.
have to fill the entire space. It can be placed in the center, off center,
or however it pleases you. It may be easier to trace in the following
step if you transfer it to a sheet of tracing paper.
2
Place the mold
face down on the
paper, outline the
mold with a white
marker, and cut out
the paper template.
7
3
With your
template as
a guide, use a
white glass marking
pen to outline the
template on the
iridized side of
the black glass.
Using a ballpoint pen and
medium pressure, outline the
skull including the cranial
cracks and teeth.
Cut the base glass following the inside of the white line.
4
Trace the
template onto
the clear seal glass
with a black Sharpie
and cut the clear
glass on the outside
of the black line.
The seal glass needs to be slightly larger than the base section.
5
Grind and
clean the base
glass and the
clear seal glass,
then set them aside.
Size the
artwork to
fit the mold,
then secure the
artwork and
transfer paper to
the base glass.
Remember you are only going to fill in the white sections of the
design with frit. How much frit and powder you use will depend
on the size of the artwork you chose. Important Note: Before you
begin mixing frit and powder, put on your face mask. This is a dusty
business, and glass powder is not good to inhale.
Mix the opaque white powder frit and the glow powder according to how much glow you want. I mixed a half-and-half blend.
You can test your mixture in a dark room by placing the mixture
under a bright light for a couple of minutes. Then turn off the light.
You will see how intense the glow is and can adjust it from there.
Prepare the
skull surface by
painting the skull
area with white
craft glue.
8
Pour the glue into a small disposable cup, add a tiny bit of water,
and blend with a toothpick. Using a medium painter’s brush, paint
in all the white area of the skull that you have transferred onto the
black base. Try to keep from filling in any black areas that define
the teeth or show cracks in the cranium. If you accidently do fill in
those details, the glue can be removed with a toothpick. You need
to work quickly to keep the glue from drying before you add your
ghastly blend.
6
9
Liberally sprinkle
the frit/glow powder
mix over the glue.
Make certain that your hands are clean and oil-free before placing
the sized artwork onto the iridescent side of the base glass. Put the
white transfer paper beneath the artwork and secure both sheets in
place with a bit of masking tape. Be creative! The design does not
61
Once again, secure your face mask before working with the frit
and powder blend. Liberally sprinkle a layer of the mix over the
entire glued area. Let this layer dry for about twenty minutes.
10
Use the fatter
brush to dust off
any excess powder.
When you reach 1000°F, close the vent and slowly ramp to a
full fuse, about 1450°F to 1500°F. The fuse rates will depend on
the glass you are using, so check the manufacturer’s suggested fuse
times if you are not sure.
Soak for approximately 10 minutes at 1500°F. Monitor the fuse.
When you see that the edges are all rounded, turn off the kiln and
let it slowly adjust to room temperature. Remove your cooled plate
from the kiln. If any adjustments need to be made, such as grinding
off rough edges, that can be done now. If everything looks good,
proceed to slumping the plate.
14
You will want to retrieve the mix that you shake from the base,
so before you shake your base . . . (drumroll) . . . place a section of
construction paper with a crease down the center underneath the
glass to capture the excess frit. Now turn the base over and gently
shake off the excess powder. Use the fatter paint brush to dust the
base. If you find gaps in the coverage, you can add a bit more adhesive and another layer of glass/powder mix.
11
When you are
satisfied with the
image, carve out
any details that
have been covered
in powder with
a toothpick.
Wipe the dust from the rest of the glass with a damp paper towel.
Let the base dry.
12
Place the clear
sealing glass over
the image and
secure before firing
in the kiln.
Add a few small drops of white craft glue to a few points on the
skull to secure the clear seal glass while fusing. Carefully align the
clear glass to the base and place it over the surface. Give it a few
minutes for the glue to dry before transferring the piece to the kiln.
13
Place the
glass in the kiln,
vent the kiln, and
bring the temperature
up by 400°F per hour.
62
Place the fused plate
onto the prepared
slumping mold, put
the mold and plate
into the kiln, and fire.
You won’t need to vent the kiln this time. Just close the lid and
allow the kiln to ramp at 400°F per hour. When the kiln temp reaches
1300°F, begin to monitor the progress of the slump.
Depending on the depth of the mold, you might soak the plate
for 10 minutes, but it could be a bit longer. When you are satisfied
with the slump, turn the kiln off and let the kiln slowly reach room
temperature.
And there you have it . . . a head on a platter that’s aglow with the
flow. Amaze your friends and terrify your enemies with this glimmering ghoul! When you use the platter at your next Halloween party
to present them with assorted goodies, I’m sure they will give your
handiwork “glowing” reviews. At least I hope that will be the case.
GPQ
Leslie Gibbs began her artist’s
journey roaming around the United
States, Mexico, and Europe. She
finally landed in South Florida,
where she set up her easels and
crates of glass and proceeded to
plug in the kilns. Since then, Leslie has published numerous
articles for glass art magazines and eleven books of stained
glass patterns.
Exploring new techniques helps Leslie convey her vivid
mental images into colorful art glass. She approaches glass
design with serious, studied drawings and a wicked sense of
humor. Visit www.LeslieGibbsStudio.com to learn more about
Leslie and her art.
Glass Expert Webinars™
No traveling Required!
Take your glass creations
to a higher level with unique
tips and techniques from the
glass industry’s
leading instructors.
Data DVDs
now available for:
• Tanya Veit
• Petra Kaiser
• David Alcala
• Peggy Pettigrew Stewart
• Margo Clark and Dr. S.J.
• Denny Berkery
• Cathy Claycomb
• Kent Lauer
• Lisa St. Martin
“The handiest little hanger for all your
metal-framed panels and small fused glass art”
• Tony Glander
• Dennis Brady
Kleen Master Sinks™
Visit the “Books,
CDs, and DVDs” link
in the “Store” section of
www.glasspatterns.com for
more information and
to purchase these great
Data DVDs from
Glass Patterns Quarterly.
Specially designed sinks for everyone in the art glass trade.
These sinks are made of 3/8"-thick polypropylene to ensure durability. The 1" threaded drain is welded on the bottom and is easily
installed to common plumbing. All sinks include high-tech pullout
faucets and white 1" x 1" steel welded legs, and 8 bolts and 8 nuts
make for easy assembly. The sinks come in ready-made 24" x 36",
36" x 48", and 48" x 60" sizes, or you can special order custom
sizes. Optional equipment to supplement the sinks, including a
fibergrate are also available with optional rubber feet, vertical
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63
Fractal Ornament and Gift Box
Design, Fabrication, and Text by Susan McGarry
F
ractals are fascinating geometric
figures of a never ending pattern, and
when you make them out of glass they
are even more beautiful. The process of
making fractal patterns out of fused glass
is now quite simple with the right tools,
and the results are stunning. For these
projects I am using System 96 fusible
glass plus Uroboros 96 stringers and
rods. This is a quick and easy way to
create a beautiful gift box and ornament
out of the same fractal pattern bar.
System 96®
Spectrum
200SF White
100SFS Clear
152SF Transparent Ruby Red
128AVSF Aventurine Green
N-125-96-5 Dark Green Glass Noodle
Uroboros
ORO-1511-96 Cherry Red Semi-Opal Rod
ARTiFILL.com
12" Triangular Stainless Steel Mold
Tools and Materials
Papyros Kiln Shelf Paper, 13" x 4"
1/8" Fiber Paper, 2" x 2"
Morton System or Other Strip Cutter
Kitchen Scale Taurus Ring Saw or Tile Saw
Aanraku AANP-SQBS Small Square Wooden Box
Diamond-Coated Glass Coring Drill Bit
8" Red Ribbon E6000 Adhesive
64
1
Cut the glass strips,
noodles, and rods, and
weigh the strips.
Cut strips of White, Ruby Red, and Aventurine Green glass
between 1/8" and 1/2" wide and 12" long. Cut a few Dark Green
noodles and the Red rod to 12" lengths. Use the kitchen scale to
weigh the strips of glass until you have about 18 ounces. There is no
real need to clean the glass, but you can if it makes you feel better.
For the ornament, arrange 4 of the slices on the smaller clear
square. Make sure that the slices are lined up properly with the
bottom point of the triangle pointing to the middle of the square.
For the box lid, arrange 8 of the slices on the larger piece of clear
glass. Make sure that the slices are lined up properly with the same
corner of the triangle pointing to the middle of the square.
Cut 1/4" strips of white glass 3‑1/2" long. Place the strips along
the edge of the large square as a border. Cut four 1/4" squares and
place them in the corners inside the border. Add a small white square
to fit in the middle. Fire to a full fuse.
2
Fill the mold with
glass, then fuse.
Fold the Papyrus kiln shelf paper lengthwise and trim it to the
length of the ARTiFILL TM12 stainless steel mold (available at
www.artifill.com). Cut the 2" square of 1/8" shelf paper in half,
corner to corner, to get 2 triangles. Place these triangles at each end
of the mold. Make sure the mold is covered completely to keep the
glass from sticking to the stainless steel. You can also use kiln wash
if you prefer, but you will still need the 1/8" fiber paper triangles at
both ends to allow the mold to expand and contract around the glass.
Place the strips of glass in the mold, ensuring that the pattern is
the same all the way through. You don’t want one end of the pattern
bar to be different than the other end of the pattern bar. This is the
key to a great fractal.
Place the mold filled with glass in the kiln and fire to a full fuse
with a bubble squeeze. Bubbles in the pattern bar will be noticeable
when it’s sliced and may effect your fractal pattern.
Segment 1: Ramp 350ºF/hr. to 1100ºF and hold 30 minutes.
Segment 2: Ramp 9999 (AFAP*) to 1450ºF and hold 30 min.
Segment 4: Cool to room temperature.
3
Segment 1: Ramp 350ºF/hr. to 1100ºF and hold 30 min.
Segment 4: Cool to room temperature.
5
For the ornament,
use a drill press with
a glass drill bit to
drill a hole in the
corner of the glass.
The glass must be lightly covered with water when drilling the
hole. Drilling too close to the edge may cause the glass to break. If
you are not comfortable using the drill, you can glue a bail to the
back. Once you have a hole, thread a piece of ribbon through the
hole and it’s ready for hanging.
Tip: When you are drilling a hole in the ornament, place a scrap
piece of glass under the ornament to support the glass. This will
keep the back of the hole from blowing out.
6
Slice the pattern bar.
Glue the large
fractal piece into
the box lid.
Use the Taurus Ring Saw with a slicing blade or a wet tile saw
to trim off one end of the pattern bar. Then cut 12 slices from the
pattern bar approximately 1/8" thick. The pattern bar is thick, so
don’t force it through the saw. Cut slowly with plenty of water to
avoid chipping.
4
Cut a piece
of clear glass
2‑1/2" x 2‑1/2" for
the ornament and
3‑1/2" x 3‑1/2" for
the box lid, then wash
and dry the 12 pattern
bar slices and the
clear glass.
For the box, place the glass in the opening of the wooden box
lid to ensure that it fits. Remove the glass and run a bead of E6000
adhesive along the inside edge of the opening. Center the glass
inside the opening. Run another bead of glue along the inside edge
to secure the glass in place. Allow the glue to dry for 24 to 48 hours
before you move the box.
Your gorgeous fractal pieces are complete, and this is just the
beginning. Now that you understand the process, the possibilities
are limitless. You should also have enough of the pattern bar left to
make more fractal patterned pieces.
GPQ
65
66
David Alcala
August 27
Kent Lauer
August 29
Randy Wardell
September 10 and 12
David Alcala
Kent Lauer
Dennis Brady
October 8
Milon Townsend
October 15
Milon
Townsend
Peter McGrain
October 22 and 24
Jackie Truty
November 5 and 7
Tanya Veit
November 12
Milon Townsend
November 19 and 21
Tanya Veit
December 3 and 5
Dennis Brady
December 10
Peter McGrain
Tanya Veit
Glass Expert Webinar™ Schedule
Susan McGarry has been passionate about glass since her first glass
class in 2005. Since then she has
participated in classes and workshops
in fusing, flameworking, sculpture, and design. In 2007 she
started her glass business, Glass Obsession, and has exhibited her fused glass jewelry and artwork in shops throughout
the United States and Ireland. In 2012 she started her business, ARTiFILL, manufacturing molds and jewelry findings
for artists and crafters.
Susan was born and raised in Southern California. Her
home and glass studio are now in the San Francisco Bay
area. She recently sold her company in the green building
industry and now devotes all of her time to glass and shares
her love of fused glass fractals in her classes. Her book,
Fused Glass Jewelry, can be found on Amazon and her molds
and jewelry findings can be found at www.artifill.com or at
local retailers.
Modern Victorian
Design by Christie Wood, Text by Delynn Ellis
C
lassic Victorian design never gets old as shown in
this updated pattern by Christie Wood. Presented
here in Christmas colors, Modern Victorian has a resemblance to greenery and berries. No doubt, this could be
done in any combination of colors to suit your decor for
the rest of the year as well. The panel could be set in a
transom window or a sidelight for a modern Victorian
welcome. It’s a traditional composition that is suitable
for fabrication with either lead or copper foil.
This 15‑1/2" x 45‑3/4" panel is from the pattern
CD Opus One, a collection of traditional stained glass
panels, nontraditional free-form wall sculptures, fireplace screens, suncatchers, and mirrors. The designs
span a wide range of styles from Victorian, Art Deco,
Southwestern, and religious to fantasy, landscapes, and
animal portraiture. Featured in the collection are over
50 best-selling designs produced in Christie Wood’s Art
Glass Ensembles studio for a wide audience. The CD is
distributed by Dragonfly Software. Visit www.dfly.com
GPQ
for more details.
Spectrum Glass Co.
I/100H Clear Hammered Iridescent
for Background, 5 Sq. Ft.
622-7S Lime/Olive/White for Design, 3 Sq. Ft.
641-7S Purple/Amber/White for Design, 3 Sq. Ft.
818-72S Rosy Brown/White for Design, 2 Sq. Ft.
Tools and Materials
1/2" Zinc Came Custom Wood Frame
30 mm Red Beveled Jewel
15 mm Red Beveled Jewel, 4
67
What’s New
Diamond Tech provides a way for artists to make fast, easy, and accurate
straight-line cuts, duplicate strips, and perfect circles with the Studio Pro
Strip/Circle Maker. This unique dual purpose tool can be used with craft
knives, marking pens, and pencils as well as glass cutters, making it an
indispensible tool for design and construction. A rigid metal measuring
bar with precise laser engraved markings provides accurate measurements
to 1/16", and it’s also calibrated with metric engravings accurate to 1 mm.
The strip base, circle base, and utility holder are made from high-impact
plastics for accuracy and a longer life. Artists and crafters can use the edge
of the material as a guide due to a unique strip base design that works on
raised-edge work surfaces. The three-pronged circle-making base also
makes it easy to see and center circles, and its floating action means better
performance on uneven surfaces. Nonskid pads on the circle base keep it
securely in place while marking or cutting.
800‑937‑9593 813‑806‑2923
www.diamondtechcrafts.com
Franklin Art Glass now has, for a limited time, the Fusers’ Reserve Limited Edition
Southwest Reaction glass. This glass features
vast, sweeping arrays of the desert colors of
the Southwest in a dynamic mix. The allure of
this striking mix lies in how the molten colors
react with one another during production, which results in finished sheets as intriguing as
they are varied. The 24" x 24" sheets are available now for in-store pickup, or they can be
shipped nationwide. This is a limited run product, so get them while they last.
614‑221‑2972 orders@franklinartglass.com
www.franklinartglass.com
Top Tools is now offering a professional studio–quality, dual tracking
strip cutter. With this basic strip
cutter you can now do repetitive, uniform, professional strips. Cut most art glass up to
36" in length with ease. For longer sheet glass such as Spectrum, there are optional 52"
replacement bars for longer glass strips. The strip cutter gets its uniform cutting through
the use of two tracks—a pressure sensitive adjustable cutting head, sealed ball bearings on
the tracking head, and a self-adhering ruler for accuracy when preparing to cut strips. Cutting glass strips has never been easier. Available from Art Glass Retailers and Distributors.
The KBW Glass Art Educational Foundation will be hosting its Fifth Annual Glass Art Conference Cruise beginning
on February 1, 2014, and will sail to the Caribbean paradise
ports of San Juan, Charlotte Amalie, and Phillisburg during
this one-week round-trip cruise from Miami, Florida. Travel
to the world’s most stunning beaches and sunsets aboard the
Reflection, Celebrity’s most modern and luxurious ship at sea, with enough spectacular
amenities to make it a destination of its own. This is a unique opportunity to fuel your
creativity, learn from renowned instructors, catch up on the latest glass art techniques and
trends, and soak up enough inspiration to last all year long. Presentations and workshops
by all of the industry’s star instructors include Digital Glass Art Photography, Creative
Design, Basic and Advanced Fusing, Glass Enameling, Beaded Jewelry, Glass Cutting,
Dichroic Glass Techniques, Wire Wrapping, Mosaics, and more. The onboard art studio
features interactive classes and hands-on demonstrations by artists from the South Florida
ArtCenter that perfectly complement the conference events. Group rates include conference
registration, presentations, networking sessions, a cocktail party, lavish meals, and onboard
entertainment. The workshops are offered at nominal fees.
760‑603‑8646 herbtoptravel@aol.com
www.kbwfoundation.com
68
Randy and Carole Wardell present the new B303 Drop-Thru Mold Forming Bundle.
Artists can now create a dramatic footed vase
using this three-piece drop-thru mold forming
system that automatically aligns the drop to
the center of a wineglass-style foot. The mold
enables fusers to create a delicate vase shape in
a kiln that is remarkably similar to vessels made
using traditional glassblowing techniques. The
system is formed from three components. The C100 Foot Casting Mold is used to create a
2‑7/8"‑diameter x 1/4"‑thick cast glass foot using small pieces of scrap glass. The DT300
Tripod Base supports the Drop-Thru Ring as it holds and centers the cast foot disk. The
DT305 Fluted Drop-Thru Ring shapes the vase and guides the drop onto the cast foot disk.
Turning the ring one-third revolution will position it at one of three different levels to
produce three distinctly different vase heights. Find this and other fusing products at the
Wardell Joy of Fusing website.
954-607-2189 thebuzz@joyoffusing.com
www.joyoffusing.com
H.L. Worden presents the CF18-29 Rose Bush T, the latest addition to the WordenSystem™ “Make a Lamp” series. This lamp
is a composite reproduction of the original Tiffany Rose Bush
shades as shown on page 156 in Dr. Neustatdt’s book, The
Lamps of Tiffany, as well as page 157 of The Lamps of Tiffany
Studios book by William Feldstein Jr. and Alastair Duncan.
This three-repeat design is made using the CF18 FullForm™.
800 541‑1103 509‑854‑1557
www.wordensystem.com
Fusion Headquarters has Flexi-Glass, an exciting new
product developed by glass artist David Alcala. It lets glass
artists create fusible paper-like glass film that can be cut with
scissors then fused. But there are some tricks to using it that
are covered in two new free videos on using Flexi-Glass
from the company to help master making the glass film while
showing how to control imagery to get stellar results from
this innovative product. The videos are available by clicking
the Flexi-Glass link at the company’s website or by searching
YouTube for Flexi-Glass Fused Glass Medium.
503‑538‑5281
www.fusionheadquarters.com
D&L Art Glass Supply now has bangle bracelet molds from Jayne Persico, the authority
on art glass bracelets. These durable stainless steel molds are available
in two sizes—extra small/small or medium/large. Both create beautifully smooth glass bangles with frit, scrap glass, decals, and more.
Due to their size, many bracelets can be fired at once, depending on
the size of your kiln. Visit the company’s website for more details.
800‑525‑0940 303‑442-3429
www.dlartglass.com
Diamond Tech makes it easy for glass artists to organize,
store, and transport stained glass tools and accessories with
the custom-made tool caddy from Studio Pro. Made with
high-density ABS plastics, this caddy has deep compartments to safely house tools, supplies, and loose parts. The
comfort grip handle on the 14-1/4" x 6‑1/4" x 3‑3/4" caddy
makes lifting easy. Special compartments include upright
foil space with a tear blade, a large space for solder and flux
with detachable flux brush and holder, and a sponge and sponge well
for quick and easy cleaning of soldering iron tips. A heavy, copperplated iron,
NowBlade!
Free
Gryphon
Zephyr+
Ring Saw
Cuts in any direction
For all cold, warm and hot
glass artists. Blades for all
applications from delicate
dichroic to thick fused glass.
Best Value
Now Two blades
and maintenance
kit included with
every saw!
®
Gryphon Corporation
Celebrating our 52nd Year
≈
www.gryphoncorp.com
69
coiled cage prevents a hot soldering iron
from touching the work surface and protects
hands and nearby objects. Pull-out handles
on both sides of the caddy allow for easy
transportation and retract down and out of
the way when not in use.
800‑937‑9593 813‑806‑2923
www.diamondtechcrafts.com
5th Annual
Glass Art Conference Cruise
February 1st, 2014
One week
from Miami
to Caribbean
San Juan
Philipsburg
Charlotte Amalie
Sail to paradise ports
and stunning beaches
aboard Reflection,
Celebrity’s newest marvel.
Spectacular amenities make
it a destination of its own.
Ed Hoy’s International
JR
Great group rates include
conference registration
presentations
networking sessions
lavish meals
onboard entertainment
Workshops offered
at nominal fees
CUSTOM
PLATING
From No Shine To Show Time
Specializing in bright nickel
plating of leaded glass
l
More than 30 years in the
plating industry
l
Fast turn-around time on all
orders
l
A deposit of $500
will hold your cabin.
Deposit is fully refundable
untill November 10th, 2013.
Highly experienced with fragile
items
l
This Conference Cruise package
can only be booked through
KBW Foundation
and Top Travel
CALL (760) 603-8646
for more information
or to book your cabin
www.KBWFoundation.org
Facebook.com/KBWFoundation
70
Uroboros Glass presents its new System
96® “Metallic” Frit that provides the precious metal
shimmer of
the company’s popular
sheet glass
Gold and
Silver Irids in a frit form. Medium Clear
Metallic (F3-00-96 MIR), Coarse Clear
Metallic (F5-00-96 MIR), and Mosaic Clear
Metallic (F7-00-96 MIR), once fused, will
stand out and add an unmistakable “lux”
look to designs. A surprisingly different
appearance than the company’s Rainbow
Irid frit, these new frits can be fused over
dark colors or black to achieve a dramatic,
multilayered metallic shimmer. They are
available in coarse, medium, and mosaic
grain sizes
503‑284‑4900
www.uroboros.com
l
Perfect for the holidays
l
Family-owned and operated
Johnny Colton
1391 11th Ave SW
Forest Lake, MN 55025
Johnny@JRCustomPlating.com
www.JRCustomPlating.com
651-464-0761
has three new Colour de Verre Pattern
Fusers—the Spiral, Botanical, and the
Weave. The pattern fusers create deeply
textured panels that can be slumped or left
flat to create contemporary wall art. Visit
the company’s website for more detailed
product information.
800‑323‑5668 info@edhoy.com
www.edhoy.com
Coatings By Sandberg (CBS) will be offering classes
at the company’s location in
Southern California on October 17–20,
2013. The classes, which will be taught by
world-renowned artists, will cover glass
fusing, glassblowing, and torchwork with
an emphasis on the exploration of Dichroic
glass. Visit the CBS website for complete
details.
714‑538‑0888
www.cbs-dichroic.com
AAE Glass, as a Bullseye Kiln Glass Resource Center, is fully stocked with opalescent, transparent, and
streakie glass, plus
seventy-five styles
of iridized Bullseye
Glass and Textures
just added to AAE’s
inventory. A special
production of Holly Berry glass is also now
in stock for your holiday season.
239‑471‑7724
www.aaeglass.com
D&L Art Glass Supply gives you a chance
to learn with pioneers of fusing, Richard La Londe and Patty
Gray. Explore different
techniques of creating imagery with frit in fusing pieces
with La Londe and learn to
create gallery-quality glass art with Gray.
Both renowned instructors will be teaching
in the company’s state-of-the-art classroom
in October 2013, and there are a few spots left.
800‑525‑0940 303‑442-3429
www.dlartglass.com
Armour Products presents the #21-1604
Over ’N’ Over Reusable Glass Etching Stencils for
faces, which can
be reused up to
fifteen or twenty
times depending
on care and other
variables of use.
The stencils can be
used with Armour
Etch Cream or the Armour Sand Etch Mini
Blaster to add faces to your glass, mirrored,
ceramic, and other nonporous projects.
Included are designs for four sets of eyes
and eyebrows, three mouths, three noses,
two mustaches, and a nose/mouth combo.
973‑427‑8787
www.armourproducts.com
GPQ
760-603-8646
CALL
TODAY
bring friends and family
Glass Art
Conference
Cruise
February 1, 2014
A unique opportunity for
novice and experienced
artists to network and learn
from expert instructors
•
•
•
•
•
•
•
•
•
Carole and Randy Wardell
Cathy Claycomb
Kay Bain Weiner
Ann Sanborn
Karen Carney
Andrea Olson
Mike Glotfelty
Marina Jennings
Lori Mitchell
•
•
•
•
•
•
•
•
•
•
Innovative Fusing
Kilns and Firing
Creative Designing
Dichroic Glass Techniques
Glass Embellishments
Gold Leafing
Glass Art Photography
Mosaics
Beading and Jewelry
Social Media
Workshops and
Presentations
visit
KBWFoundation.com
for details and schedule
Accelerate Your Creativity
Timeless Tiffany Inc offers all colors of
Van Gogh Glass.
It’s a wonderful,
easy-cutting glass
designed to be used
with reflected light.
Van Gogh Glass
works well in mosaics, stepping-stones,
and wall hangings.
410-287-3900
www.stainedglasssuppliesonsale.com
This fund-raising
cruise is sponsored
by the non-profit
KBW Glass Art
Educational Foundation.
Our mission is to inspire and stimulate
interest and growth in the Glass Art
industry through educational projects.
Funds support glass art scholarships,
grants, and programs in public schools
and colleges.
71
Santa
Design by Jean Beaulieu, Text by Darlene Welch
I
t’s that time of year when glass artists begin to
think about their next Christmas project. This
24" x 16-1/2" oval panel with free-form perimeter
features a jolly hello from Santa himself and comes
to us from Canadian artist, Jean Beaulieu. It is
one of the seventeen Christmas designs found in
his pattern book, Holiday Spirit, which includes
everything from Santas and candy canes to poinsettias and decorative bows. You can order the
book and the aritst’s other pattern collections at
GPQ
jeanbeaulieu.com.
Wissmach Glass Co.
97-LL Dark Cobalt Blue/Dark Purple for Background, 4 Sq. Ft.
23-L Light Green Opal/Copper Red for Sleigh, 2 Sq. Ft.
145 G-SP Dark Amber/Opal/Crystal for Sleigh Runners, 2 Sq. Ft.
58-D Medium Amber/Opal/Crystal for Bells, Scrap
77-L Light Brown/Yellow Green/Opal for Toy Bag, 1 Sq. Ft.
WO-28 Orange/Opal for Coat, 1 Sq. Ft.
WO-29 Dark Selenium Red/Opal/Crystal for Gloves and Hat, Scrap
WO-325 Light Amber/Opal/Crystal for Coat and Hat Trim, Scrap
WO-051 White Wispy for Beard, Scrap
568 Champagne Pink for Face, Scrap
Tools and Materials
72
CONNECTICUT
GEORGIA
The Stained Glass Shop
The Stained Glass Apple
Jennifer’s Glass Works LLC
Stamford, CT 06906
Smyrna, GA 33080
6232 W Bell Rd Ste 101
Glendale, AZ 85308
602-504-0553
www.stainedglass-shop.com
Tumbleweed Stained Glass
2636 W Baseline Rd
Mesa, AZ 85202
888-261-7091
www.TumbleweedStainedGlass.com
Kachina Stained Glass
1762 S Greenfield Rd
Mesa, AZ 85206
480-655-2000
496 Glen Brook Rd
203-358-8700
FLORIDA
Art Glass by Sonya
865 E Semoran Blvd
Casselberry, FL 32707
407-230-5521
www.artglassbysonyainc.com
Glassic Arts Stained Glass
D & A Stained Glass Creations
www.BlueHillsGlassandBeads.com
Holder, FL 34445
1563 Hwy 99
Gridley, CA 95948
530-846-4375
www.stainedglassjunction.net
Arrowhead-Camur Stained Glass
1160 E Highland Ave
San Bernardino, CA 92404
909-881-0888
www.arrowheadcamurglass.com
COLORADO
1407 Jefferson St
Boise, ID 83702
208-336-3040
www.LegacyGlassArt.com
ILLINOIS
6954 US Hwy 41 (N Florida Ave)
352-465-0834
Most extensive in-stock selection
of glass tools and supplies in the
Southeastern United States
Art Glass and Stamp Studio
870 S Arthur Ave
224-735-2376
www.suevelstudios.com
Art Glass Studio of Belleville
1600 East A St
Belleville, IL 62221
618-235-9638
O’Reilly’s Stained Glass
58 N William St
Downtown Crystal Lake, IL 60014
815-444-1797
2320 E Edgewood Dr
www.oreillysstainedglass.com
863-683-6522
Victorian House
Lakeland, FL 33803
Art Glass Design Studio
1329 S 14th St
Leesburg, FL 34748
352-365-6699
D & L Stained Glass Inc
The Dragons Cache
2625 N Harbor City Blvd (US 1)
Greeley, CO 80631
321-242-6017
1109 7th St
Melbourne, FL 32935
970-353-1051
www.DLSGLASS.com
Arranged Alphabetically by State, then City
Phoenix, AZ 85032
Stained Glass Junction
Legacy Glass Art
Arlington Heights, IL 60005
www.glassicarts.net
CALIFORNIA
IDAHO
386-738-1008
BlueHills Glass and Beads
480-948-1169
800-241-3388
Suevel Studios
Deland, FL 32720
13643 N 37th Way
4875 S Atlanta Rd
320 S Spring Garden Ave Ste E
www.kachinastainedglass.com
Stained Glass Supply Shops
ARIZONA
408 E Main St
Mahomet, IL 61853
217-586-4834
INDIANA
The OP Shop
Kokomo Opalescent Glass Co
1310 S Market St
Kokomo, IN 46902
765-457-1829
www.kog.com
73
KANSAS
Anything in Stained Glass
Lansing Art Glass
Rayer’s Bearden
Frederick, MD 21704-8323
Lansing, MI 48912
5104 Pegasus Ct Ste F
Stained Glass Supply
800-462-1209
6205 W Kellogg Dr
www.anythinginstainedglass.com
Wichita, KS 67209
Glass by Grammy
800-228-4101
www.rayersinc.com
4733 Snow Hill Rd
Salisbury, MD 21804
LOUISIANA
410-548-2589
www.glassbygrammy.com
Carousel Stained Glass
1602 Eastwood
MASSACHUSETTS
985-643-2515
Great Woods Glass Art
Slidell, LA 70458
Email: carouselglass@bellsouth.net
Inspirational Stained Glass
122 Roxanne Dr
Youngsville, LA 70592
Norton, MA 02766-0476
508-285-4744
www.greatwoodsglassart.com
517-484-8875
Stallings Stained Glass
8011 Miller Rd
Swartz Creek, MI 48473
810-630-9103
www.stallingsglass.com
Linden Art Glass
37655 Ford Road
Westland, MI 48185
734-728-7767
MINNESOTA
Flamingo Glass
337-856-9740
The Stained Glass Emporium
205 W Lincoln Ave
MAINE
Rehobeth, MA 02769
www.flamingoglass.com
karensge@comcast.net
Glass Endeavors
Prism Works
555 Portland Rd
Bridgton, ME 04009
69 Fall River Ave Rt 6
508-336-5455
www.stainedglassemporium.net
207-647-8322
Our Glass Studio
Phoenix Studio
Sutton, MA 01590
630 Forest Ave
Portland, ME 04101
800-773-4154
140 Worcester Providence Turnpike Rt 146
508-865-3030
www.ourglassstudio.com
www.phoenixstudio.com
MICHIGAN
Treehouse Glass Studio
Straits Area Glass Co
Sebago, ME 04029
Cheboygan, MI 49721
12 Murch Rd
207-787-3626
10994 N Straits Hwy
231-627-4426
MARYLAND
Delphi Creativity Center
Timeless Tiffany
Lansing, MI 48910
1769 W Pulaski Hwy
Elkton, MD 21921
410-287-3900
www.timelesstiffany.com
74
259 Mansfield Ave
2320 E Michigan Ave
Fergus Falls, MN 56537
2716 E 31st St
Minneapolis, MN 55406
612-721-9553
www.glassendeavors.com
Michael’s Stained Glass Studio
720 Osseo Ave S
St Cloud, MN 56301
800-250-2330 (MN only)
www.michaelsstainedglass.com
J Ring Glass Studio Inc
2408 Territorial Rd
St Paul, MN 55114
888-845-7464
3380 E Jolly Rd
www.jringglass.com
800-248-2048
Sleepy Eye Stained Glass
Free color catalog
Sleepy Eye, MN 56085
www.delphiglass.com
135 Main St E
150+ classes - see schedule online
507-794-6449
NEW YORK
RHODE ISLAND
Seraphim Studios LLC
Milestone Glass Creations
Holidaze Stained Glass
Hattiesburg, MS 39401
Rochester, NY 14607
350 Culver Rd
104 S 10th Ave
585-288-7830
601-550-4137
Full line of supplies, classes,
www.seraphimglass.com
and stained glass
MISSOURI
NORTH CAROLINA
Stained Glass Station
236 NW Oldham Pkwy
Lees Summit, MO 64081
816-525-8088
www.stainedglassteacher.com
Classes, Extensive selection of glass, supplies, and fusing
Burlington, NC 27215
865-688-3333
336-227-1231
Email: fountaincitystainedglass@comcast.net
www.theglassangel.com
TEXAS
Reflections
Blue Moon Glassworks
Full line of supplies and classes
St Joseph, MO 64501
816-676-1077
www.tobiasonstudio.com
NEVADA
Glass Art Studio Inc
4310 Cameron St #3
Las Vegas, NV 89103
702-227-9794
www.glassartinc.com
NEW JERSEY
NTS Glass Works
29 W Park Ave
Merchantville, NJ 08109
856-910-1300
www.ntsglassworks.com
Calabash, NC 28467
OHIO
Busy Beaver Arts & Crafts
3445 Dayton-Xenia Rd
Beavercreek, OH 45432
108 W 43rd St
Austin, TX 78751
512-380-0770
www.austinbluemoon.com
Merry Go Round
Stained Glass Center
3021 Lackland Rd
937-429-3920
Fort Worth, TX 76116
Leaded Glass Design
www.merry-go-roundstainedglass.com
Cuyahoga Falls, OH 44223
GlassCraft Supply
www.leadedglassdesign.com
Houston, TX 77043
1755 State Rd
330-929-4514
Glass Creations
6786 State Route 128
Miamitown, OH 45041
513-353-4455
OREGON
Roses Glassworks Art Glass School
817-763-0589
2002 Brittmoore Rd
713-690-8282 / 800-231-0148
www.glasscraft.net
A Statement in Glass Inc
301 W Main St
LaPorte, TX 77571
281-470-1314
10105 SW Hall Blvd
Glass Garden Inc
503-246-9897
Longview, TX 75604
Portland, OR 97223
913 W Loop 281 Suite 122
www.rosesglassworks.com
903-234-0201 / 903-758-7713
75
302 S 8 St
th
Fountain City Stained Glass LLC
Knoxville, TN 37917
St Charles, MO 63301
Tobiason Studio
TENNESSEE
224 E Front St
910-575-3503
www.theglassworkbench.com
401-568-5140
1328 Buchanan Ave
The Glass Workbench
636-946-2002
Chepachet, RI 02814
The Glass Angel
947 Carter Dr
318 S Main St
712 Putnam Pike Route 44
MISSISSIPPI
Hearts Desire Stained Glass and Beads
Artistry in Glass
San Antonio, TX 78240
Waterford, WI 53185
London, ON Canada N6H 5L7
www.sgcworkbench.com
www.heartsdesirestainedglass.com
7515 Eckhert Rd
210-647-7475
VIRGINIA
Laurel Gallery
2805 Hungary Rd
Richmond, VA 23228
804-672-6804
www.laurelgallery.net
Bluebird Stained Glass Studio
2163 Jefferson Davis Hwy #103
CANADA
Alphabetically arranged by
province, city, then store name
Four Winds Art Glass
648 SW 152nd
Burien, WA 98166
206-242-2860
WISCONSIN
The Glass Garden LLC
25 W Milwaukee St
Janesville, WI 53548
608-754-3718
www.eglassgarden.com
The Vinery
1422 MacArthur Rd
Madison, WI 53714
608-271-2490
www.vineryglass.com
159 Broadway
Orangeville, ON Canada L9W 1K2
519-941-2505
780-432-4331 / 877-432-4331
Ottawa, ON Canada K2A 0G8
www.fourwindsartglass.ca
888-249-9421 / 613-722-8702
902-876-5167 / 866-377-5167
Glass Expressions
Glasscraft
911 Richmond Rd
Old Town Stained Glass
WASHINGTON
www.artistryinglass.on.ca
Edmonton, AB Canada T6E 1W8
Vantage Point 3 Unit E
800-879-5035
519-641-0443 / 877-386-1116
Stained Glass Stuff
www.bluebirdstainedglass.com
Winchester, VA 22601
#105 - 1674 Hyde Park Rd
10050 -81 Ave NW
Cranberry Stained Glass
161 N Loudoun St
262-763-6733
Stafford, VA 22554
540-720-4296
76
234 A Marina Ct
110 Chain Lake Dr
Halifax, NS Canada B3S 1A9
www.cranberrystainedglass.com
Huronia Art Glass
680 Bay View Dr Unit 3
Barrie, ON Canada L4N 9A6
705-721-1323
www.huroniaartglass.com
Loon’s Call Studio
5 Pinehill Dr RR#4
Brantford, ON Canada N3T 5L7
519-752-9949
www.loonscallstudio.com
Glasscraft
31 Main St
Grand Valley, ON Canada
519-928-5243
www.glasscraftcanada.ca
Fired-Up Glass Arts
527 Adelaide St N
London, ON Canada N6B 3J4
519-672-2787
Bullseye Glass Resource Center
www.firedupglassarts.com
www.stainedglassstuff.com
Canadian Stained Glass Warehouse
1017 3rd Ave
Quebec City, QC Canada G1L 2X3
418-648-0969
www.canadianstainedglasswarehouse.com
�
�
Stained Glass Crafters Workbench
Advertise Your Shop In
GPQ’s Stained Glass
Supply Shop Directory
Our retail directory is an affordable
means of advertising your storefront
to potential new customers. You can
advertise your store hours, special
events, new classes, and website.
Join others who have gifted their
favorite instructor and storefront by
purchasing a directory listing. In
doing so, you can help secure their
business success. Contact us to find
out how your store can be included.
Call 1-800-719-0769.
Christmas Tree
Design by Jean Beaulieu, Text by Darlene Welch
T
he sights, sounds, and smells that
greet us in December are important for helping to shape the wonderful
Christmas memories that we cherish
from year to year. The fragrance of
evergreens on a cold, brisk winter’s
day seems to be a favorite for many.
This 11" x 12" oval panel with freeform border captures that feeling and
provides a great reminder of Christmas the whole year through.
The design is just one of seventeen delightful seasonal patterns that
can be found in the book, Holiday
Spirit, from Canadian artist, Jean
Beaulieu. Other designs in this collection include candy canes, presents,
Christmas balls, a seasonal teddy
bear, Christmas stockings, angels, and
many other Christmas themes. Visit
jeanbeaulieu.com to find this and the
artist’s other pattern collections.
GPQ
Wissmach Glass Co.
4-L Gold Pink/Green/Opal/Crystal for Background, 1 Sq. Ft.
1-D Silver Yellow/Opal/Crystal for Ornaments, 1 Sq. Ft.
57-LL Medium Green/Opal/Crystal for Tree, 1-1/2 Sq. Ft.
238 NLLG Dark Purple/Dark Blue/Yellow Green/Opal/Crystal for Ribbon, 1 Sq. Ft.
14-R Gold Pink/Silver/Opal/Crystal for Star, Scrap
77-L Light Brown/Yellow Green/Opal for Tree Trunk, Scrap
Tools and Materials
© Copyright 2013
by Glass Patterns Quarterly.
77
Advertisers’ Index
Advertiser
Supplier of glass and tools for both
the hobbyist and the professional!
• One of the best selections of glass
in the Midwest
• Great selection of tools and equipment
• Fusible glass, molds, frits & dichroic glass
• Classes in Stained Glass,
Fused Glass, Mosaics & Flameworking
• Host to schools and private parties
Conveniently located 5 minutes
off of Interstate 90/94
The Vinery
1422 MacArthur Rd
Madison, WI 53714
www.vineryglass.com
608-2712490
Unique Glass Colors
Manufacturers of Kiln Fired Glass Colors
MUD, Glass Separator, FREE and
Introducing
CRYSTAL ICE
COPPER
Contact Info
Page
1 Glass Impressions (920) 382-1807 www.1GlassImpressions.com 63
AAE Glass www.aaeglass.com 53
Aanraku (650) 372-0527 www.abasg.com 13
Anything in Stained Glass (800) 462-1209 www.anythinginstainedglass.com 17
Armour Products (973) 427-8787 www.armourproducts.com 52
B & B Products, Inc. (623) 933-4567 www.etchall.com 56
C & R Loo, Inc. (800) 227-1780 www.crloo.com 9
Cress Manufacturing (800) 423-4584 www.cresskilns.com 79
Diamond Tech (800) 937-9593 www.DiamondTechGlass.com 19
D & L Art Glass Supply (800) 525-0940 www.dlartglass.com 70
Dragonfly Software (800) 553-7246 www.dfly.com 31
Edco Supply Corporation (866) 397-4777 edcofloridawest@aol.com 25
Evenheat Kiln, Inc. (989) 856-2281 www.evenheat-kiln.com 63
Firelite Forms (888) 800-3901 www.fireliteforms.com 68
Flight Into Fantasy Ask Your Local Supplier
31
Franklin Art Glass (800) 848-7683 www.franklinartglass.com 17
Fused Fantasies (800) 719-0769 www.GlassPatterns.com 53
Gemini Saw Company Inc. (310) 891-0288 www.geminisaw.com17
Glass Accessories International www.glassaccessories.com25
Glass Craft & Bead Expo (800) 217-4527 www.glasscraftexpo.com
GlassCraft Supply (800) 231-0148 www.glasscraft.net
Glass Expert WebinarsTM (800) 719-0769 www.GlassPatterns.com 66
25
63/66
Glass Garden LLC, The (608) 754-3718 www.eglassgarden.com 23
Glass Patterns Quarterly (800) 719-0769 www.GlassPatterns.com 29
Glastar (800) 423-5635 www.glastar.com 9
Gryphon Corporation (818) 890-7770 www.gryphoncorp.com 69
H. L. Worden Co. (800) 541-1103 www.WordenSystem.com 19
Hakko USA www.HakkoUSA.com5
Handy Hanger www.HandyHanger.net 63
Illustrated Word, The (800) 719-0769 www.GlassPatterns.com
29
Inland (248) 583-7150 www.inlandcraft.com 15
Inspirational Glass and Metal Art www.displayglassart.com 18
JR Custom Plating (651) 464-0761 www.JRCustomPlating.com KBW Foundation (760) 603-8646 www.KBWFoundation.com KWC, LLC Table Foilers (800) 250-1790 70
70/71
56
Master Artisan Products (250) 382-9554 www.masterartisanproducts.com 23
GOLD
Morton Glass Works (800) 635-2113 www.mortonglass.com
19
Olympic Kilns (800) 241-4400 www.greatkilns.com 53
Paned Expressions Studios (410) 676-1248 www.panedexpressions.com 29/71
Paragon Industries (800) 876-4328 www.paragonweb.com
23
Paul Wissmach Glass Co., Inc. (304) 337-2253 www.wissmachglass.com 80
Premium Glass Products, Inc. (800) 752-3501 www.premiumglass.net BRASS
PLATINUM
Kiln Fired Metallics
1/2 oz jars, pre-mixed
info@uniqueglasscolors.com uniqueglasscolors.com
407.261.0900 Fax: 407.331.0900
78
Skutt Kilns (503) 774-6000 www.skutt.com 31
2
Spectrum Glass Company (425) 483-6699 www.spectrumglass.com 49
Sunshine Glassworks, Ltd. (800) 828-7159 www.sunshineglass.com
31
Timeless Tiffany Inc. (410) 287-3900 www.stainedglasssuppliesonsale.com15
Unique Glass Colors (407) 261-0900 www.uniqueglasscolors.com
Vinery, The (608) 271-2490 www.vineryglass.com
Whittemore-Durgin (800) 262-1790 www.whittemoredurgin.com
78
29/78
68
Introducing...
THE LATEST INNOVATION
THE
IN KILN TECHNOLOGY
By: Cress Manufacturing
Professionals and hobbyists alike are
e
enthusiastic about the ease and safety
ty
of manipulating hot glass in the new
GK Series Drop Bottom Kilns
GK2
GK1
NOW
AVAILABLE
BLE
IN TWO
T
CONVENIENT
CONVENIENT
SIZES
Minimal
imal heat los
loss and
nd fast
fast tempe
tem
temp
temperature
pe ure recovery for virtually
ually any firi
fir
firing
i project
•
•
Jewe
Jew
Jewelry
Slum
g
Slumping
•
•
Raking
Raki
Vitro
h
Vitrograph
•
•
Enam
Enameling
LowLo
mics
mi
Low-Fire Ceramics
•
Raku
Model
Volts
Amps
Max Temp
Chamber Opening
Outside Dimensions
GK1
120
15
2000˚
8”x8”x6.75” H
15.5”x14.5”x17.5” H
20
12
70
GK2
240/208
18/16
2000˚
12”x12”x9” H
25”x25”x39” H
20
10
180
Fuse Size Wire Size Ship Weight
CALL TODAY FOR YOUR CLOSEST DEALER AND A FREE CATALOG
800.423.4584
775.884.2777
WWW.CRESSMFG.COM
79

STAINED GLASS - Glass Patterns Quarterly

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