Stained Glass - Glass Patterns Quarterly

Transcription

GLASS PATTERNS
Q U A
Spring 2014
R T
E
R
L Y
Volume 30 • No. 1
Stained
Glass
April Windflowers
Framed Lithophane
Beveled
Sunburst
Mosaic
Group Therapy
Fused Glass
Glories in the
Garden
Hanging Wall Vase
Sunflower Bowl
Etching
Garden Table
Volume 30
No. 1
$6.00 U.S. $7.50 Canada
www.GlassPatterns.com
DON’T MISS Our 16 - Page Pattern Sheet
Pro Series
The ArTisT
Why ryAn Likes This kiLn
Ryan Staub is a glass artist who has
blown glass in 11 different countries and territories, working with all
kinds of glass and glass equipment.
He currently owns and operates
his own studio in his hometown of
Seattle, Washington. His work can
be found in many collections worldwide as well as online at:
www.ryanstaub.com
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From the Editor
Publisher ~ Maureen James
Editor ~ Delynn Ellis
Splendor in the Glass
Graphic Artists ~ Dave Burnett,
Mark Waterbury
Botanicals, leaves, winged creatures . . . the themes of spring
never get old. Many areas of the United States have battled unseasonably cold, snowy temperatures for a good part of the winter,
so spring’s return this year is a special relief to most.
While the delicate petals and luminescent wings of springtime
are often a challenge to recreate realistically in glass, the tutorials
on the following pages offer special tips to get the job done. You
can see for yourself the distinct features that turn an assembled
project into a work of art. Check out the 3-D stamens in Chantal
Paré’s rich blue and fuchsia anemones, the intensity of the hatch
marks in Carmen Flores Tanis’ floppy flowers, and the natural looking seeds that cover the
center of Erica Biery Collins’ sunflowers. It is details like these that expand a replica into
a piece that has depth and character.
The enthusiasm you feel from making a quality glass project can’t help but make you
want to share your talents with others, whether it’s teaching glass techniques to a young
neighbor, as Leslie Gibbs does in “Glories in the Garden,” or responding to the special
needs community like occupational therapist Janae Polish in “The Therapeutic Value of
Mosaic Teamwork.” Janae uses glass as a medium for enriching the lives of clients who
would not normally get the opportunity to work with glass. You don’t have to be a licensed
therapist, however, to bring the splendor of glass to your own church, school, mom’s group,
or senior center.
The KBW Foundation is taking this concept further by promoting “Art Glass in Art
Class,” a hands-on dissemination of knowledge about art glass to art teachers around the
country. This collaborative program helps licensed teachers integrate glass into their art
curriculums as they provide a hands-on experience working with glass. Glass Patterns
Quarterly, Glass Art, and The Flow are proud sponsors of the program, which hopes to
inspire budding glass artists for years to come.
Accounting ~ Rhonda Sewell
Circulation Manager ~ Kathy Gentry
Copy Editor ~ Darlene Welch
Advertising ~ Maureen James
Contributing Designers and Writers
Jean Beaulieu, Jeffrey Castaline
Cathy Claycomb, Erica Biery Collins
Ruth Dobbins, Delynn Ellis
Leslie Gibbs, Petra Kaiser
Hiroyuki Kobayashi, Jane McClarren
Chantal Paré, Alysa Phiel
Janae Polish, Carmen Flores Tanis
Wesley R. Wong, Christie Wood
Darlene Welch, Emily Zuccaro
Glass Patterns Quarterly
Issn 1041-6684, is published quarterly
by Glass Patterns Quarterly, Inc.
POSTMASTER Send address
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Encouraging you to make great glass,
Facsimile 502-222-4527
E-Mail info@glasspatterns.com
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Delynn Ellis
Managing Editor
Website GlassPatterns.com
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Americana: Symbols and Motifs of American Heritage
March 20, 2014
April 20, 2014
April 30, 2014
Fall 2014
Autumn, Halloween, Christmas, and Holiday Ornaments
Editorial
June 20, 2013
Ad Closing
July 20, 2014
Ad Materials July 30, 2014
GLASS PATTERNS QUARTERLY/Spring 2014
3
3 From the Editor
Splendor in the Glass
by Delynn Ellis
6 April Windflowers Window
Table of Contents
Design by Chantal Paré
10 Porcelain Lithophanes
Framing Panels with Head Glass
Spring 2014
Design by Cathy Claycomb
16 Sunburst Suncatcher
An Introduction to Stained Glass
Design by Alysa Phiel
22 The Therapeutic Value of Mosaic Teamwork
by Janae Polish
26 Twofers
Etching Two Designs from One Stencil
Design by Ruth Dobbins
30 Dove of Peace
Design by Jean Beaulieu
32 Red-Eyed Tree Frog
Design by Aanraku Glass Studios
33–48 16-Page Full-Size Pattern Section
50 Fused Iridescent Dragonfly
Design by Wesley R. Wong
56 Mad Etching Skills
Etched Garden Mosaic Table
Design by Carmen Flores Tanis
60 Capturing Sunflowers in Glass
Design by Erica Biery Collins
62 Wall Vase
Deep Pockets without the Hassle
Design by Petra Kaiser
65 Glories in the Garden
Design by Emily Zuccaro
68 What’s New
by Darlene Welch
72 Oversized Leaves
Design by Christie Wood
73 Stained Glass Supply Shops
77 Hydrangea Wreath
Design by Christie Wood
78 Advertisers’ Index
4
Active and
Voting
Members
of
Volume 30 Number 1
April Windflowers Window
Design, Fabrication, and Text by Chantal Paré
“The peach-bud glows, the wild bee hums,
and the windflowers wave in graceful gladness.” - Lucy Larcom
A
nemones, sometimes poetically called
windflowers, are a member of the botanical
family Ranunculaceae, and a cousin of poppies
and buttercups. While their lacy, whorled foliage
is inconspicuous, they bloom in a lush yet restful
palette of purple, cranberry, red, and white.
These spring bloomers’ characteristic stamens
beg to come alive in three dimensions, giving this
project a decidedly modern twist. The bold zinc
H-came frames each bloom, conjuring traditional
window panes.
Spectrum’s Clear Rain Water glass evokes
April showers, while the granite texture in the
flowers’ centers is reminiscent of their real-life
counterpart’s dark fuzzy pistil.
This 44.2 cm x 65.4 cm pattern lends itself to
many variations. The flower squares can be framed
and displayed individually, or the window can be
made larger by adding or repeating some squares.
The stamens, shown here with tinned copper wire
and solder, can be decorated with large glass beads
in lieu of the solder bead.
6
Spectrum Glass Company
100RW Clear Rain Water for Backgrounds, 2 Sq Ft.
Uroboros Glass Studio
65-49 Gold-Purple/White Granite Texture for Flower Centers, Scrap
60-64 Pink/Red/White/Green Highlights for Petals, 2 Sq Ft.
Bullseye Glass Co.
3334 Cranberry Pink/Gold Purple/White Streaky for Petals, 2 Sq. Ft.
2105 Blue Opal/Plum Streaky for Petals, 2 Sq. Ft.
2128 Royal Purple/Powder Blue Opal Streaky for Petals, 2 Sq. Ft.
Tools and Materials
Pretinned 20-Gauge Copper Wire
Pretinned 14-Gauge Copper Wire
3/16" Black-Backed Copper Foil
3/4" Zinc U-came 1/2" Zinc H-came
60/40 Solder Poster Putty or Moist Clay
Masking Tape or Electrical Tape
Carpenter’s Square
#000 Steel Wool Dish Soap
Black Patina Flux/Patina Remover
Do not solder the squares together. Use a carpenter’s square to
hold the edges down and tack-solder the pieces around the outer
perimeter of each square. Solder to bead on the back of the project
first, then the front. Do not bead all the way to the edge of the square
to leave room for the zinc came. When done, rinse off the flux with
dish soap and water.
1
Make two
copies of the
template, cut out
the pieces of one
template inside the
black lines, and trace
the pattern pieces
onto the smooth side
of the glass.
Be mindful that the front of the project is lying against the pattern, and the back of the project is on top, facing you. If the smooth
side is meant to be seen on the front of the project, then flip the cut
out piece of template before tracing it.
2
Score and
break the glass,
keeping your glass
cutting wheel inside
the marker lines.
Grind the
glass pieces
and check for a
good fit with the
paper template.
3
4
Foil the
glass as evenly
as you can.
Prepare a
3-sided wood jig
with the bottom of
the rectangular
shape missing.
6
Cut the zinc outer frame and zinc internal frame with an electric
mitered hack saw or a manual mitered hacksaw. You are provided
with exact measurements, but bear in mind that there may be subtle
differences with each project. Do a double check by prefitting your
pieces together and adjust if necessary.
Start with the 3/4" zinc U-came outer frame, to be mitered at a
45-degree angle. The outside length of the frame’s short segments
(top and bottom of the project) is 44.2 cm, while the outside length
of the long segments is 65.4 cm. Continue by cutting the 1/2" zinc Hcame at 90-degree angles: 4 pieces of 9.6 cm and 1 piece of 61.2cm.
7
Slide in
the anemone
squares and the came
segments, starting
with the top of the
project and working
your way down.
Place the piece for the bottom zinc frame.
8
5
Solder each
square individually.
Mask the
areas around
each solder joint
on the zinc framework,
then solder.
Remember that zinc takes a bit more flux and heat than lead.
When that’s done, lightly tack-solder each lead line to the zinc
framework where both touch.
7
9
11
Use poster
putty or moist clay
to create a ridge that
will hold the stamens
in place while you
solder their bases to
the ring around
the floral centers.
Prepare two
1-inch U-shaped
pieces of the 14-gauge
copper wire and solder
them into the top
corner joints.
10
If you are especially dexterous, you can slowly solder each stamen to the ring, taking care that the solder cools between each new
stamen, and skip the putty.
12
Rinse off
the project,
then apply patina
using a paintbrush
in order to avoid
getting the patina
on the zinc trim.
Cut about 120 lengths of the
20-gauge pretinned copper wire
for the stamens.
Lightly brush a length of solder with flux and melt the solder
so that it forms beads on your work surface. Line up pieces of the
wire against each bead and gently drop a second bead where the
initial bead touches the piece of wire. This will increase the volume
of the stamen.
Stained Glass Made Easy, From Cookies to Cutters!
New
Welded
Rollers
13
Using #000
steel wool, rub
off any patina that
might have stained
the zinc and polish
the zinc to a nice shine.
Spray with flux/patina remover and rinse with abundant water.
Now hang the piece in front of a window and admire your handiGPQ
work!
A decade ago, Chantal Paré quit the fastpaced 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.
Ask to see them at your favorite retailer! Or call 1-800-250-1790
8
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
9
Porcelain Lithophanes
Framing Panels with Head Glass
Design, Fabrication, and Text by Cathy Claycomb
I
am always looking for new and nontraditional
items to incorporate into my stained glass—
something new to make guests in my home or
customers entering my show booth take a second
look and step closer. I love to see their reactions
when something unexpected has caught their eye.
One summer, I stopped by a garage sale on
my way to the studio and spied a night-light made
from a porcelain plate glued to a plug-in night-light
fixture. The plate had become detached from its light
source, and the owner must have felt that what once
graced some part of her home was no longer useful.
I had seen night-lights and candleholders made from
these plates before. We probably all have.
As I picked up the piece to hold it to the light, I was
taken by how light and delicate it was when detached
from its customary hardware. I pondered the possibilities of incorporating it into glass somehow—a fairly
easy feat, since it was a simple rectangular shape that
could be framed by two inches of surrounding glass
and the customary perimeter came.
My next thought, as it lay on the passenger seat
beside me, was what a pity that something so delicate
should be surrounded by metal, no matter how narrow.
Since I had long worked with head glass—that lovely
undulating, flapped, folded, or crimped glass that goes
through the rollers first when stained glass is in its molten form—I had my second eureka moment of the day.
Kokomo Opalescent Glass
Head or Edge Glass, in desired colors
The Porcelain Garden
Lithophane Plate
Tools and Materials
Glass Cutting and Soldering Tools
1/4" Venture Foil Tape Sharpie® Marker
Ruler Triangle Clear Nail Polish
Canfield Solder, 60/40 or 50/50
Classic 100 Gel Flux Patina
Spray Foam Glass Cleaner
Finishing Compound
Kwik-Clean Flux Neutralizer
Wire Rings (2) Copper Chain
10
I had always enjoyed working with head glass, since first discovering it on a factory tour at Kokomo Opalescent Glass in Kokomo,
Indiana, years ago. Since the edges are rolled, unlike the sharp edges
of cut glass, and therefore stronger, I thought the attractive curves
would provide the perfect look to complement the delicate porcelain. I also felt that the rolled edges provided a finished look, even
without the metal perimeter expected in traditional stained glass.
Then, as now, I decided that head glass would be one of the things
that made my work different from what was expected. Let me share
some of the techniques I use when working with it.
Back to the Porcelain
I investigated different sources for porcelain plates on the Internet
and found some that were more intricate than others. I discovered
that porcelain is poured into a mold that is originally carved in
beeswax. Because of the thin pour of porcelain, when it’s fired
only 50 percent of the pieces survive the firing process. Because of
that delicacy, however, some designs are almost holographic when
held to the light.
A product that was originally popular in Victorian days, called
lithophanes, is now being manufactured once again with new designs. They came in several forms—the customary night-lights,
curved forms that were less useful when it came to incorporating
into flat stained glass and, much to my delight, lanterns that were
much larger. Upon contacting the manufacturer, I found that I could
order just the plate without the hardware or lamp base, and I was
on my way to presenting my customers with a series of pieces that
might not only produce some extra sales, but also provide a line of
work my buyers might like to collect.
The fact that these lovely plates are available in a 3" x 4" size to
make gift giving easier was great, but now the thought of much larger
5" x 11" ones to become more substantial pieces of inventory was
very intriguing. It is this larger size that I will explore with you. An
iris example of the lithophanes is shown here with and without light.
1
Decide whether you will use
head glass or edge glass and
which side of the glass you will
use for the front of the project.
Rounded edge glass can be obtained in two ways,
from head glass, which is more dramatically shaped, and
edge glass, which is more uniform and sometimes attached
to the sheet glass you purchase. For purposes of this article,
the edge form is a nice and mostly unnoticed bonus. You may
even already have a supply in your workshop.
I always remind my students to study the back of the glass
in the selection process. In the case of Kokomo glass, the back
side of the glass offers less homogenized colors, so the color
fields are often more distinct. Make your decision before you
cut the glass for the fitting of the globs, so that the round side
of the glob goes to the front.
2
Smooth any
rough edges on
the glass.
Porcelian lithophane with
backlighting.
Porcelian lithophane with
front lighting only.
I often have students and fellow artists ask me if I have ever
considered making my work, no matter what the technique, on a
smaller scale to produce less expensive pieces to sell. Perhaps the
fact that I work contemporary styling into all of my pieces, involving fewer pieces of glass—in some cases, only one—my thought
has always been that a small work is as labor intensive as a large
one when only five pieces of glass (as is the case in most of these
porcelain pieces ) are being used. The wow factor of a 10" x 16"piece
is more likely to bring a second look than a 6" x 8" piece as customers come into my booth. Five pieces to cut, five pieces to foil, five
pieces to solder; the difference in the labor is negligible once you
begin. Yes, you need a bit more material, but consider the fact that
cutting smaller pieces may result in waste that could be used to make
a more substantial work. I will show you both large and small sizes,
done with the same steps, and you be the judge. So let’s get to it!
For the sake of workmanship, gently run your finger across the
rolled edge glass you intend to use. Avoid any sharp areas. Occasionally, a broken bubble can be repaired with a grinder, or a small
file. Two coats of clear nail polish will restore shine to the dulled
area left by the grinder.
3
Fit the head glass
around the item
to be framed.
11
After collecting the head glass, it is best to fit the glass around
the center item by making rough Sharpie markings. Mitered corners
provide the simplest fit and the sturdiest construction, but they also
require greater lengths of glass. The wider the perimeter you choose,
the more dramatic the mitered corners will be and the greater the
lengths of glass that will be required. For lack of glass, you may
have to narrow the perimeter. Once you have worked out a possible
placement, measure more precisely using a ruler and triangle and
cut the perimeter glass.
An added advantage to this type of construction is that less
“squaring” is required. The greater the undulation and gracefulness
of the glass, the less exact the measurement required and the more
eyeballing can be used to determine the thickness of the perimeter
glass to balance the look of the fit. It can be wider at the top or irregular in other ways to preserve a particularly nice crimp or fold.
It takes a bit more calculation to miter the corners, but that will
quickly become second nature.
6
Mark the placement for
the glass glob carefully with
a Sharpie marker.
You can now see how inserting the globs removes the offending
mismatched corners and leaves you with what seems to be perfectly
fitted glass.
7
4
Fit the finished cuts snuggly
against the center panel and
fit the opposing miters together,
ending in matched sets.
Cut the marked glass
away and refit.
If you cannot manage to match the corners as much as you would
like, let me pass on this tip. In the case of this particular project, the
bottom corners can be altered to match each other more precisely
by rounding one set of corners to match the other.
5
8
After grinding
the cut edges, clean
the glass to remove
all moisture and
grinding dust.
9
For the top corners,
place a large glass glob or
fused decoration over the
corner, measured for fit from
the corner of the porcelain.
12
Foil the glass pieces.
I usually use 1/4" Venture tape for my seams and corners. I like
those proportions on contemporary style work, and the wider tape
makes for a stronger piece, especially when there are so few seams.
The porcelain plate itself is a bit thinner, so thinner tape may be
warranted to match the foiling on the adjoining glass.
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13
10
Cut the corners off the
tape before applying to
the tips of the miters.
Fully solder the
front side, allow the
work to cool, then
turn it over and
solder the back side.
15
I create a dog-eared shape, which seems more graceful than a
square edge, and allow for a 1/8" to 1/4" return in both directions
at the corners to lock the glass in place. This resulting return also
allows a space for some decorative solder beads and does not allow
the glass to pull out and away from the center section.
11
While still on
the back, attach
a ring at the top of
the center panel where
it meets the miter seam
to allow for hanging
with a length of chain.
Use an appropriate size chain for large or small pieces. With a
good solder joint, a single length can be used to connect to both sides
of the center panel. Because the porcelain is so light-dependant, I
always attach enough chain to hang the finished work from a window latch, most of which are adequate for such hangings. I have
learned that the interior of a room is usually not as bright as the
sunlight outdoors, and nearly any window will produce a good show.
Sometimes a ribbon or wire can attach the chain to the top of the
wood sill or even the curtain rod of sheers in front of the window.
Do the same
for the glass glob.
12
Fit the seven taped pieces
together and apply the flux.
I like Classic100 Gel Flux for the gel aspect of it, for the fact that
it stays wet while I work, and for the smokeless, odorless qualities
of the flux itself.
13
Tack-solder
the pieces together.
Painters tape or masking tape can be all that is needed to hold
everything steady for this initial tacking. There are so few pieces
that it seems the same as when you tack-solder a suncatcher.
14
14
16
Before hanging,
apply the decorative
beading at the miter
corners.
I find it easier to load a small amount of solder to the side of
the iron while pointing the narrow side of the soldering iron down.
Touch the narrow part of the iron to the dog-eared area and deposit
the bead.
Remember two things as you are depositing the beads on your
work. Apply a bit more flux for a smooth, shiny bead. Also make
sure that you apply the bead to a hot base. If you “drop” a bead on a
cold surface, rather than “soldering”
it to a hot surface, it will probably
come off in the cleaning process.
For the initial bead, I touch the target
spot with an empty iron first to heat
it, then follow immediately with the
bead. If you are on a roll and want to
add more beads at the same corner,
no further heating is necessary since
there is enough residual heat.
This technique can be used to frame other “found” items. Sandblasted or enameled glass, pressed glass medallions or art objects,
mirrors, or just extraordinary glass can be finished in this way rather
than with a traditional metal perimeter. I also like to plan these pieces
for hanging, as it allows more freedom with the bottom edge as far
as retaining the lovely curved parts of the head glass.
GPQ
Thanks for learning something different!
17
Thoroughly
clean the piece
with glass cleaner.
Visit www.theporcelaingarden.com to find more information or
to purchase the lithophane panels.
18
If you desire,
apply patina,
neutralize with
Kwik-Clean spray,
and follow with
finishing compound.
Note: It is important not to use steel wool before applying patina.
The dust created from the steel wool becomes trapped in the fine
detail of the porcelain. It is very difficult to remove, even scrubbing
with a toothbrush. Because of the moisture in the patinating process
plus the qualities and paleness of the porcelain, the trapped steel
wool will rust and stain the porcelain.
Cathy Claycomb, a glass artist whose
work is displayed in private collections
across the globe, is the owner of Hidden Images in Glass and The Claycomb
Group. Cathy continues her career in
marketing while developing her series
of Hidden Glass classes, Let’s Learn
Something Different, which she teaches across the country.
These thirteen intermediate to master-level classes include
Hidden Images, Wall Jewelry, Sticks and Stones, Floating
Rondels, and Glass Straight Up. Cathy is also a writer for
the stained glass industry and the author of a tutorial video,
Hidden Images in Glass. You can view her glass art and
class schedule at www.cathyclaycombart.com.
15
Sunburst Suncatcher
An Introduction to Stained Glass
Design and Fabrication by Alysa Phiel, Text and Photography by Jane McClarren
H
ere in Arizona, we have plenty of
sunny days, but not every part of the
country is as fortunate. Now you can see
the sun every day! Using manufactured
bevels and scrap glass makes this colorful suncatcher a quick and easy piece to
complete. It can be hung in the window
inside or enjoyed outside in a tree or on a
patio. Enjoy the sparkle!
Before starting this project, be sure
that your hands are clean and free of lotion, which helps to keep your glass clean.
Now you’re ready to lay the pattern over
the soft board and adhere it to the board
using aluminum pushpins in the corners
of the pattern. Next, lay the glass for the
sun center over the pattern and trace the
circle using the Sharpie marker.
1
365-1S White/Yellow Classic for Sun Center
and Large Sun Rays, 1/2 Sq. Ft.
151W Cherry Red Waterglass
for Small Sun Rays, 1/4 Sq. Ft.
6076-83CC Clear/White/Orange/Yellow “Inferno”
for Large Sun Rays, 1/4 Sq. Ft.
Tools & Materials
3" x 5" Diamond Bevels, 3 Plain and 3 Glue Chip
Glass Cutter Black Sharpie® Marker
Running Pliers Grozing Pliers Soft Board
Aluminum Push Pins Glass Grinder Fid (optional)
7/32" Copper Foil 60/40 Solder Flux Flux Brush
Soldering Iron Solder Sponge Iron Stand Rheostat
Copper Patina Old Toothbrush Newspaper
Stained Glass Polish 16-Gauge Copper Wire (2")
Fishing Line Glass Cleaner Sponge, Rags, or Paper Towels
16
Cut the
circle using
a glass cutter.
To cut out the circle, make cuts from the edge of the glass to the
edge of the circle, running into the side of the circle.
2
Break away
the glass using
running pliers.
3
Use grozing
pliers to break
off any pointy spots,
then grind the edges
of the glass on
a glass grinder.
6
It is important to grind all of the edges of the glass, as this helps
the copper foil to adhere. Clean the glass well with a rag or paper
towels.
Place the glass back on the pattern and use a few pushpins to
hold it in position. It is important to use aluminum pushpins, since
plastic ones will melt when you begin soldering.
Lay the glass for the first red small sun ray over the pattern. If
the glass you have chosen is transparent, you can either trace the
pattern onto the glass with the Sharpie or cut out the piece directly
on the glass.
Cut the first
small sun ray,
then grind the
glass to fit
the pattern.
4
Grind the glass to fit the pattern. Clean off the glass and place
the pieces back in their position on the pattern using aluminum
pushpins. Check the shape and placement of all the pieces of glass
to be sure that no additional adjustments are necessary.
Place the glass bevels in their positions on the pattern. If no
adjustments are necessary for the other pieces to make the bevels
fit, pin them in place. Check the overall size and fit of all the pieces
together.
7
Once you are satisfied with the shape of the glass piece, clean
both sides well with glass cleaner or a wet rag. Dry the piece and
place it back in position on the pattern using aluminum pushpins.
Number each
pattern position
and the coinciding
glass piece with
the Sharpie.
Cut each set of large rays as
one full diamond, then cut the
diamond down the center to
create the pair.
5
Once you are satisfied that all
of the pieces fit snugly and you
have no large gaps, apply copper
foil to the pieces.
Peel the copper foil so that the back peels away from you. Look
straight down at the edge of each piece of glass and center the foil on
the edge. Overlap the end of the foil about 1/2" beyond the starting
point. Cut the foil with scissors, then push the edges over the glass
with your finger, being careful not to cut yourself.
Repeat the steps for breaking, grinding, fitting, and numbering
for the remaining small sun rays. Once you have the center and small
rays pinned in place, check the pieces to be sure they are all fitting
correctly. You can mark the pieces with the Sharpie marker to note
where shaping adjustments need to be made. Continue to grind all
of the pieces until they fit, then pin all of them back in place.
Lay the glass for the first set of large sun rays over the pattern.
If this glass is transparent, you can trace the pattern onto the glass
with the Sharpie marker or cut directly on the glass. Trace the pair
of rays as one piece.
8
Burnish the
foil with the edge
of a Sharpie or a fid.
Put pressure on the surface of the foil to smooth it onto the
glass, being sure to burnish the top edge and both sides. This step
is crucial. If you do not burnish well, the flux you use later will get
under the foil and cause it to separate from the glass.
17
9
13
After pinning
the pieces back into
position, use a flux
brush to spread flux
over all of the copper
edges.
Bend a piece
of wire into a
narrow U shape and
adjust it to fit tightly
over the top and
bottom of the ray.
Work the brush between the pieces of glass, working from top to
bottom so you don’t miss any spots. You may want to wear disposable gloves when using flux, since it can cause irritation to your skin.
10
Tack-solder
spots with 60/40
solder where the
pieces connect to
each other.
Set the rheostat and check the heat before starting to solder. A
tack-solder will hold the pieces in place and allow you to remove
the pushpins. Once you have tack-soldered the front of the piece,
remove the pins from the project. The piece is not stable at this
point, so do not try to pick it up.
11
Turn the piece over, apply flux, and solder the hook to the other
side. Make sure it is secure. NOTE: Do not hold the wire with your
fingers when affixing the hook to the suncatcher, since the wire will
get hot from the soldering iron.
Turn the piece over so that the front is facing up, check your
soldering work, and make any necessary repairs. If desired, add
decorative soldering to the piece. Clean the entire project with
warm, soapy water and a sponge to remove all of the flux. Dry
off the piece with a rag or paper towels. Cleaning and drying will
insure a bright patina.
15
Flux all of
the remaining
copper edges and
solder the exposed
copper foil.
Finish running a bead of solder along all of the copper foiled
edges of each piece of glass, then carefully turn the project over.
Spread
newspaper on
your work surface
and lay the suncatcher
down on the
newspaper.
16
12
Shake up
the patina,
pour a small amount
into the cap, and use
the toothbrush to apply
the patina to all of the
soldered areas.
Apply flux
to all of the copper
edges, then run a
bead of solder over
all of the foiled edges
on back of the
suncatcher.
Select one of the large rays of the piece to be the top where you
will affix a hook.
18
14
Apply flux
to the top of
the tip of the ray,
hold the wire in
place with pliers,
and solder it to the
edge of the ray.
Turn the piece over and apply patina to the reverse side. Be sure
to patina all of the edges as well. Wipe off any excess patina with
a paper towel.
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19
17
Apply glass
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Shake the glass polish well and pour a small amount into a dry
rag. You want the polish to be the consistency of milk. Rub well
over the entire suncatcher.
18
Allow the polish
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then buff both sides
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19
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20
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21
The Therapeutic Value
of Mosaic Teamwork
by Janae Polish
A
s a recreational therapist and artist, I am always looking for new
and interesting art projects that will have a therapeutic value
for the clients, who cover all age groups and a wide spectrum of
disabilities. At the California Mentor Day Program in Long Beach,
California, we have made beautiful stained glass windows, some
traditionally painted, as well as a variety of fused glass projects from
bowls to sculptures to jewelry, and now this column decorated with
fused glass leaves. Their work has been entered into several juried
art shows where they have won numerous prizes and high praise.
The most rewarding thing for me as a therapist is when the clients
say that they had no idea they could make such beautiful things in
glass, because no one ever thought they could do it or gave them
the chance. Many have told me that these groups have given them
self-confidence, courage, and pride in themselves and their work.
The opportunities are endless as to where a glass artist could
teach others the art of working with glass—any place where a good
number of people meet, work, and live. One of the most important
things to remember when working with glass is the safety of your
clients. Always be sure you know their skill levels and start slow.
When sharing your glass skills with others, it is also essential to
have lesson plans and know time lines, cost of goods, and fees.
Information available online can assist with your preparation.
In our program we offer a complete glass program with educational videos on glass and tours to stained glass studios to see the
artisans at work, as well as visiting many galleries. I teach a glass
program that educates clients about glass, its history, what can be
made from glass, and all the safety aspects of working with glass.
Clients participate at their own skill level. Some need handover-hand assistance, while others have become quite independent
in these skills. As clients become more familiar with the activity,
they are able to participate with more proficiency and confidence.
Working with glass promotes fine motor skills, visual perceptual
skills, and visual motor
skills, as well as cognitive,
math, and social skills. As
a therapist, I find that a
repertoire of ideas is necessary to work one-on-one
as well as in small groups.
The staff in our program
are also trained to work
individually with clients
by overseeing each project
and ensuring the strictest
safety considerations.
22
Bringing Old Objects to New Life
I like projects where we can use recycled items. In this project I
found a plaster column in the alley behind my house. It had broken
pieces on the bottom, but I saw a lot of potential for an interesting
art piece. What I envisioned initially changed as the clients and I
began working on it. I feel it is important to have the clients help
with all of the decision making regarding how they want the project
to look when it’s finished. I also give my own artistic input, and from
there we come to a group decision on how to proceed. Even during
the process of working on the project, things can keep changing.
Since the column had broken pieces of plaster on the bottom
portion, we decided the best way to cover this area up was to use
shells, which the clients cleaned and then glued on. We used a hot
glue gun, since we were working with a vertical column. Other glues
we tried took too long to dry, so the shells kept sliding down, and
besides that, we needed a large amount of glue. For the bottom of
the column, we used seashells, round glass pebbles, and pearls. All
of those items are available at most craft shops.
The firing program
used for fusing the leaves
was a full fuse program,
the schedule for which will
vary from kiln to kiln. I tried different firing programs that I found
online until I found the one that best suited my kiln and gave me
the desired results.
The second firing was to slump the leaves over a slumping mold,
which was then fired at a slump fuse program. The larger leaves
were slumped so that they could curve nicely around the column.
We used a variety of oranges, greens, some red, yellow, and browns
to create an autumn leaf look that suited the clients’ preference.
Once we had the glass leaves and branches secured to the column
with hot glue we felt it needed some accent pieces, so we added a
variety of small purchased colored flowers and leaves. Small glass
pebbles, available at most craft and gardening centers, were also
added around the leaf areas.
Next we decided to wind fused glass leaves around the column.
We used leaf and branch molds, which are available from a variety
of glass fusing companies, that must first either be kiln washed or
sprayed with MR97 so the glass will release easily from the molds
after firing. We filled our prepared leaf and branch molds with fineto medium-size 90 COE glass frit using small spoons and pouring
tools, but you can also use 96 COE frit.
23
An Evolving Design
Our original plan was to mosaic the entire column around the
leaves. After much thought and planning, however, we decided that
it would make the whole piece look too busy and take away from
the bottom shelled area, the leaves, and the future glass sculpture
going on top. We also liked the texture and natural color of the
plaster column, so we left it as is. No grout was used, since the glue
gun worked the best.
Once the column was finished, we discussed the possibility of
making a beautiful free-form sculpture for the top of the column.
We have several ideas that may involve the inclusion of cut glass
and fused glass along with jewels and crystals. We felt that before
we put anything along the top edge of the column, we should first
make the sculpture and see what would look appropriate there. We
also thought about how to add lighting to go inside or behind the
sculpture to light it up. The column was Phase 1 of this project.
Phase 2 will be the glass sculpture to go on the top.
We hope you enjoy our recycled plaster column, which went
from the possibility of being discarded as trash to being a piece of
beautiful artwork that the clients loved working on. They are very
GPQ
proud of their creation.
Additional Tips for Creating the Design
Here are the materials that we used when decorating the
pillar, in case you would like to make one of your own.
• Mosaic Base (bird bath, flower pot, pillar)
• Colour de Verre Leaf Molds: Small Leaf Assortment,
Leaf Feet Casting Mold, Leaves Casting Mold, Rain Forest
Leaf Casting/Slumping Mold, Oak Leaves, Maple Leaves,
Tropical Leaves, and Branches Casting/Slumping Mold. Visit
www.colourdeverre.com for a list of distributors for these and
other molds.
• Fine Frit in 90 or 96 COE in Kelly Green, Red, Tangerine
Orange Opal, Tomato Red Opal, Marigold Yellow Opal, Umber
Opal, Olive Green Opal, and Fuschia
• Assorted glass gems, seashells, recycled jewelry, purchased
small flowers, glue gun, and fine frit in 90 or 96 COE.
• Small spoons
• Wood carving tools
Use small spoons and wood carving tools to pour the frit
into the molds. The wood carving tools form a narrow channel
that allows you to pour small amounts of frit into the small
areas.
Frit amounts will vary per mold. Each mold comes with
suggested frit amounts and firing directions. We filled our
molds about 3/4 of the way to the top and fired them for full
fuse or slumping according to my kiln.
As we experimented, we discovered that when we didn’t
use enough frit, there were small holes in the leaves. We
liked that, however, since it looked like a natural leaf would.
I recommend experimenting with different amounts of frit in
the molds so that you will get a variation in the leaves. Slump
with your favorite slumping program using a curved
slumping mold.
Janae Polish, a stained
glass artist since 1977, discovered traditional stained
glass painting in 2001.
She has a varied art background and is a musician as
well as an artist. Janae prefers to work as a stained
glass painter, but she is also involved in glass fusing
and likes to incorporate both techniques into her
work. She is also a photographer and uses many of
the photos from her world travels as inspiration for
her stained glass windows.
Janae has worked as a recreational therapist
since 1979 and started a glass program with her
adolescent, adult, and senior developmentally disabled clients. Their work is exceptional, and they
have won several juried art shows. Janae’s work
can be seen on her website at www.janaepolish.com.
24
25
Twofers
Etching Two Designs from One Stencil
Design, Fabrication, and Text by Ruth Dobbins
I
t has always been important to me to use all materials wisely in
order to get the most in return. During these trying economic
times, it seems to be even more important to engage in this practice.
That’s why I set out to use one stencil to create two blasted bowls,
giving me two projects from one stencil.
I began my project with a couple of smaller glass bowls (about
7" in diameter) that were created by slumping crystal clear glass
through a drop mold in a kiln. After the firing process, the bowls
ended up with a rough-cut rim, which I cut, ground, and polished.
You can, of course, use any commercially made glass vessels at
your disposal instead.
Trying to apply any stencil materials to objects with compound
curves is always a challenge. Photo resist with its stiff coversheet
is, in particular, a tough candidate to deal with in this case. Since
I am planning to get the biggest return on my time investment, I
chose to use precut stencils made from a soft vinyl for this project.
26
Glass
7" Crystal Clear Glass Bowls, 2
Tools and Materials
Precut Stencil with Gingko Leaf Pattern
Blasting Cabinet
ClearShield Finger Proofing Solution
Positive-Etched Bowl
1
Precut a
couple of clusters
of gingko leaves as
well as several single
leaves with various
orientations and place
them onto the bowl
as desired.
Using small segments works the best, since during the application process the stencil material will always want to pucker up and
create overlaps or gaps, depending on where it is placed on the
curved surface. Having individual design elements at my disposal
also gives me the freedom to apply them wherever I want.
2
Place all of the peeled out leaves onto some silicone release
paper for later use. (The release paper is the backing paper you peel
off of any resist.) Use blue masking tape and other resist strips to
cover all of the gaps in between the individual elements, making
sure that the rim of the bowl is also protected.
4
Place all of the parts onto
the bowl until you reach a
satisfying arrangement.
Make sure to squeegee the resist on well, then remove all of
the cover sheet materials that held the precut stencil together in
the application.
3
Cut pleats in the
resist material where
necessary, then begin
peeling out the gingko
leaves from the resist
and apply blue masking
tape to protect the
rim of the bowl.
Put the bowl
into the blasting
cabinet and blast the
exposed leaves at
about 35 pounds of
pressure with the
pressure blaster
to a little depth.
Be careful when blasting the stems of the leaves, since narrow
areas blast deeper and more quickly than broad areas. If narrow
areas get blasted too long, they tend to V-groove, which does not
look particularly natural for a leaf stem. All of the blasting happens
by holding the nozzle about 6" to 8" away from the surface of the
glass and following the parameter of each shape in an ever tightening pattern until the desired depth is achieved.
27
5
3
When the
blasting is
completed, brush
off any remaining
abrasive inside the
blasting cabinet before
removing the bowl
and remove the
resist leaves.
With the blasting
completed, brush off
any remaining abrasive
inside the blasting
cabinet before removing
the bowl.
Now simply peel off any of the remaining resist, clean the bowl,
and . . . Voilà! The bowl is finished. This process creates a positive
etch, meaning that the leaves are carved and the remainder of the
bowl is left clear.
Reverse-Etched Bowl
Now I turn my attention to the second bowl, which is also made
from crystal clear glass. It should be cleaned well before beginning
the etching process.
1
Take the gingko leaves that were
peeled out and placed onto the
silicone release paper during the
first bowl project and apply them
to the second bowl as desired.
This method will produce clear leaves, and the whole background
of the bowl will be frosted. While blasting this bowl, you will have
to pay particular attention to the rim of the bowl so it will not be
etched by mistake.
In order to not have to mask the rim of the bowl, I blast from
the center bottom of the bowl toward the outside edge, carefully
avoiding lifting the bowl upright in order to avoid hitting the rim
or, worst case scenario, blasting into the bowl.
Put the bowl into
the blasting cabinet
and blast it so that
the whole blow is
etched with the
exception of where
the resist leaves
have been placed.
2
The blasting process in this case takes a little longer, since more
surface area has to be covered. I also want to create some depth
so that the leaf shapes will appear slightly raised, which will take
some additional time. Still, the whole blasting process takes only
about 3 to 5 minutes.
28
The clean-up is quicker overall for this bowl, because I only
have to remove the individual leaves. The look of the second bowl
is what we call a reverse etch.
Having used only one set of stencils, I was able to create two
etched glass bowls in a relatively short time. Not such a bad deal,
since it only required one stencil set. Not only is this method profitable but also is a bit more spontaneous and fun. Try it yourself.
You may just like it.
GPQ
Applying a Protective Coating
Having larger blasted areas on a utilitarian object always
poses a problem in terms of people handling the item and
leaving lots of oily fingerprints in the blasted surface. This
can turn a beautiful object into a smudgy looking, undesirable
object very quickly and would not be a welcome situation
for an upscale retail shop. To avoid this situation you may
want to consider applying a finger proofing solution after the
blasting process.
There are various products on the market. You need to
educate yourself about these products and choose one that will
work for you. Just follow the directions of whatever product
you might chose. We carry and use the ClearShield product,
which creates a permanent bond with the etched glass surface
itself. This means that it will never come off and therefore does
not have to be reapplied at a later date. It takes a little practice
to work with these coatings, but it’s well worth it.
Ruth Dobbins has over thirty-five years
of experience in fused and cast glass, as
well as in glass etching techniques. She
holds a master’s degree in printmaking
and art history and has been a partner in
a stained glass and fused glass wholesale
supply company in Europe.
For twenty years, Ruth collaborated
with her husband Norm in performing
commission work, writing books, and creating videos showing
techniques for glass etching. Since his passing, she continues
to offer a complete training program at Aliento Glass School
in Santa Fe, New Mexico, teaches at various trade shows, and
offers one-on-one training and consulting services. You can
contact Ruth by e-mailing her at ruth@etchmster.com or calling
888‑382‑4776. To learn more about the workshops and products
available from Aliento Glass School, visit www.etchmaster.com.
© Copyright 2014 by Ruth Dobbins
and Glass Patterns Quarterly.
“Flight into Fantasy”
Stan dreams big ...
Stan thinks big ...
Now, Stan can create BIG!
Three Dimensional Kits
Each kit contains a solid cast body that
accepts copper, antique patina or paint,
and a full-size pattern with instructions.
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.
“Flight Into Fantasy” kits offer
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See what Olympic Kilns can do for you!
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29
Dove of Peace
Design by Jean Beaulieu, Text by Delynn Ellis
T
he white dove is recognized worldwide as
an icon of hope, love, and
friendship. Many ecclesiastical windows and other
installations utilize this enduring Biblical symbol of
peace. Jean Beaulieu shows
remarkable attention to the
detail of this glorious bird in
a circular 8"-diameter panel.
Beaulieu’s formation of the
dove’s feathers, which are created with Spectrum wispy glass,
enhances the artistic movement of
the design and enriches the imagery
of the textures and highlights found
in flight.
The dove could be done as a singular
panel, as shown, or inserted into a larger
composition. You can find this and other elegant
winged creatures in Jean Beaulieu’s book, Beautiful
Birds 1. The book contains twelve stained glass designs
for the hobbyist or professional with full-size patterns for
GPQ
both panels and free-form projects.
307S Clear/White for Bird, 1 Sq. Ft.
309S Clear/White Wispy for Wing and Tail Highlights, 1/2 Sq. Ft.
319-02S Pale Amber/White Wispy for Beak, Scrap
833-51S White/Sky Blue for Background, 1 Sq. Ft.
Tools and Materials
7/32" Copper Foil Flux Solder
Black Patina 1/4" Lead U-Channel
30
Fused Fantasies
Books now available from
EDCO COPPER FOIL
Look for the
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• All copper foil can
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free of charge.
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Complete
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800-719-0769
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(718) 788-8108
Our Events Calendar
has gotten
too big for the
magazine we had
to move it to the Web.
Go to:
www.GlassArtMagazine.com
www.TheFlowMagazine.com
for all the newest workshops
and events in glass
around the world.
31
Red-Eyed Tree Frog
Design by Aanraku Glass Studios, First Rendering by Dannette Diaz, Text by Delynn Ellis
F
rogs are a sure sign of spring’s return.
This curious little fellow comes to us
from Table Lanterns: Lazy Afternoon Lamps
Vol. I, by Hiroyuki Kobayashi and Jeffrey
Castaline of Aanraku Glass Studios. The
6" x 12" project shown here can be created
separately as a small panel. The table lantern
pattern books also provide step-by-step instructions for building a lamp based on the
design. A lamp kit is also available on the
Delphi Stained Glass website.
As you select the colors, don’t be afraid
to use bright colors such as fuchsia for the
eyes and toes and vibrant greens, yellows,
and oranges for the background. The black
sections of the frog’s eyes can be added in
one of several ways. Either drill out that part
of the eye and solder black glass in place,
paint the pupils on, or fuse black glass on
top of the colored iris.
GPQ
Wissmach Glass Co.
57-L Medium Green/Opal/Crystal
for Frog Body, Scrap
WO-28 Orange/Opal for Eyes, Scrap
7-LL Gold Pink/Opal/Crystal for Feet, Scrap
WO-17 White Opal/Red/Orange
for Background, 1/2 Sq. Ft.
23-L Light Green Opal/Copper Red
for Leaf, 1-1/2 Sq. Ft.
Tools and Materials
32
C
Key Lime 6022-81C
6093-86CC
6000-81CC
Blue Skies
603-81CC
6033-83CC
6029-83CC
6061-81CC
TWO
New Pearl Opals!
6023-83CC
6069-81CC
These beautiful new blends round out the Pearl Opal line in a fresh, light direction.
To make new Key Lime, we took the delicate yellow-greens of early spring and entwined them with Clear on
a Pearl Opal base. Extending the range of Pearl Opal greens, Key Lime is sure to become indispensable for
creating depth in foliage and natural scenes. Stock #6022-81CC
6043-86CC
Blue Skies — the name says it all. This is a classic summer-blue sky with high wispy clouds. Think
of it as an airy, “daylight” option in the sky-painting palette of the Pearl Opal line. Stock #603-81CC
6034-83CC
6022-82CC
6024-84CC
6009-8CC
6021-86CC
6011-85CC
6076-83CC
Spectrum® Glass Company | www.spectrumglass.com
6034-86CC
605-85CC
6067-83CC
6092-86CC
Fused Iridescent Dragonfly
Design, Fabrication, Text, and Photography by Wesley R. Wong
T
he dragonfly is known for its colorful body and transparent
wings that sparkle when the dragonfly is flying around the
water. The majority of dragonflies have a wingspan of about three
to four inches, with some around six inches.
Dragonflies live near a body of water such as a pond, lake,
stream, swamp, or river. In nature, they have three pairs of legs
positioned under the wings. This dragonfly will have two pairs of
legs instead, positioned slightly ahead and behind the wings.
To the Japanese, the dragonfly symbolizes the summer and early
autumn. Consider this an invitation to make some dragonflies for
your summer garden, or incorporate them into another project.
There are two methods for constructing the wings. The first approach involves cutting and grinding the individual wing segments,
reassembling them, and filling in the gaps with powered frit. This
approach produces pronounced veins that protrude through the
center of the wings. Glow-in-the-dark glass powder can be mixed
with the powdered frit to produce wings that illuminate at night.
The second approach involves painting the veins with Glassline
paints and produces subtle veins that lay on the surface of the wings.
Decide which approach best suits you. Directions are also provided
for angling the wings so that the dragonfly appears to be flying.
Angling the wings can be applied to either method.
50
System 96®
100SFL Clear Thin Glass, 3" x 7"
1009SF Black Opal Glass, 2" x 6"
60-404-96IR Sapphire Blue Iridescent Glass, 3" x 7"
60-906-96IR Straw Iridescent Glass, 3" x 7"
F5-618-96 Black Cherry Opaque Powdered Frit
Assorted Colors of Dichroic Glass, Scrap
Assorted Colors of Opal Glass, Scrap
Tools and Materials
Dark Glassline Paint with Medium Tip
Bullseye ThinFire Paper Gel Glue
1/8" Fiber Paper 1/4" Fiber Paper (optional)
16-Gauge Brass Wire 20-Gauge Brass Wire
000 Steel Wool Glass Cutter Grinder
Breaking Pliers Wire Cutter Scissors
Tweezers Wheeled Mosaic Nipper Pencil
Permanent Marker Gold or Silver Metallic Marker
Carbon Paper or Light Table Scratch Paper
Cardboard Plastic Spoon Liquid Pump Hair Spray
Safety Glasses Dust Mask Shop Lamp (optional)
Glow-in-the-Dark Glass Powder (optional)
5
1
Cut a 5‑1/2" x 7"
sheet of ThinFire
paper and use carbon
paper or a light table
to transfer an outline
of the dragonfly’s body,
wings, and legs from
the pattern sheet
onto the paper.
Label the
individual segments
in each of the paper
wing patterns.
6
2
Leave a small gap between the body and the fiber paper.
Cut out the
patterns for the
wings and body.
Cut out the glass wing patterns and trace them onto the clear
glass with a permanent marker. Label the wings so you will know
which is right and which is left. Cut out the body pattern and trace
two copies onto the black glass with a gold or silver metallic marker.
Cut and grind the clear glass wings and black bodies.
3
Attach the lower
body piece to the
ThinFire paper
with small dabs
of gel glue.
Trace the glass
wing patterns onto
the iridescent glass
with a permanent
marker and label
them, then cut and
grind the iridescent
glass wings.
Cut out the
fiber paper wing
patterns, trace them
onto the 1/8" fiber
paper, and attach the
fiber paper wings to
the ThinFire paper
with the gel glue.
Trace the vein
lines onto the
iridescent wings.
7
Place the iridescent glass wings on top of the corresponding
paper wing patterns. Trace the vein lines onto the iridescent wings
with a permanent marker and number the segments.
8
4
Cut out the
wing segments.
Cut the segments from the iridescent glass wings starting with
the main horizontal lines. Next cut the upper segments of each wing,
then cut the lower segments of each wing.
51
Compare
the segmented
iridescent wings to
the corresponding
wing patterns and
grind all of the
segments of each
wing as needed.
13
9
Attach the
completed wings
to the corresponding
fiber paper wings with
small dabs of gel glue.
Attach the segments to the clear base wings with small dabs of
gel glue, placing the wing patterns under the clear base wings as a
guide. Leave a small gap between each segment. Let the glue set
completely before proceeding to the next step.
The wings will overlap onto the lower body piece.
14
10
Place one of
the wings onto a
blank sheet of paper
and spoon a line of
powdered frit onto
the iridescent wing.
Cut out the head and
tail sections of the
dragonfly and add
the design details.
To create luminescent wings, combine a mixture of 1/2 powdered
frit and 1/2 glow-in-the-dark powdered glass into a small container
before spooning the frit onto the wing.
11
Gently rub the
powdered frit into
the gaps with your
finger, moving the
excess frit onto
the paper.
Cut out the head and tail sections of the body pattern and trace
them onto the black upper body piece with a gold or silver metallic
marker. Cut and grind the head and tail sections of the body. Nip
10 to 14 chips of dichroic glass and attach them to the head and tail
with small dabs of gel glue.
Cut two small rectangular pieces of opaque glass for the eyes
and round off the corners with the grinder. Glue the eyes to the head
at an angle. The eyes will round out during firing.
15
Spoon on additional frit as needed. Carefully move the powdered
wing onto another blank sheet of paper and deposit the excess
powder back into the container. Wear a dust mask while applying
the powdered frit.
Prepare the brass
wire for the legs
and antennae.
Cut a 2-1/2" length of 16-gauge brass wire with a wire cutter
for the front legs. Bend the wire around the jaws of the breaking
pliers, using the pattern sheet as a guide for bending the legs. Trim
the legs to the same length.
Cut a 2" length of the 16-gauge wire for the back legs and bend
the wire around the jaws of the breaking pliers, using the pattern
sheet as a guide.
Cut a 1" length of the 20-gauge brass wire for the antennae. Bend
the wire into a V and pinch the bend with the pliers.
12
Prop a sheet of
cardboard behind
the powdered wing,
hold the hair spray
bottle about a foot
away from the wing,
and spray a fine mist
onto the glass.
This will set the frit and minimize any shifting and spillage during
the next steps. Repeat steps 10 through 12 for the other three wings.
52
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Browse the list to find your
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53
16
Cut a 1/2" x 1/2" piece of 1/8" fiber paper and glue it to the
ThinFire paper directly above the head. Attach the wire legs and
antenna to the lower body with the gel glue.
Attach the decorated head and tail sections to the lower body with
the gel glue and align the legs and antennae to keep them centered.
Adjust the wings to properly fit the head and tail. Let the glue set
completely before placing the assembly into the kiln.
17
Using the wing
pattern as a guide,
trace the veins onto
one of the iridescent
glass wings with
a dark-colored
Glassline paint.
Make sure all the vein lines are well connected. The medium tip
will produce a good thickness for the veins. Grip the glass with one
hand while drawing a bead of paint with the other hand. You may
want to practice drawing a line of paint onto a piece of paper before
applying it onto the glass. Repeat this step for the other three wings.
Allow the paint to dry before attaching the wings to the body.
You can speed up the process by placing the wings under a shop
lamp for a few minutes. If there are any cracks in the paint after the
drying process, cover those areas with more paint.
21
The dragonfly will develop a layer of crust on the brass wires
after firing. Carefully bend the wire legs and scrape the crust from the
legs and antennae with a piece of 000 steel wool. Adjust the legs to
the desired angle.
Dragonfly with Painted Veins and Angled Wings
An iridescent dragonfly can be made with wings that are also
angled but are simpler to construct. The techniques for the angled
wings can also be applied to the dragonfly construction steps described in the previous section. This dragonfly has a blue body and
straw-colored iridescent wings.
18
Prepare the
ThinFire paper and
body plus the clear
and iridescent wings
as described in
steps 1 to 5.
54
19
20
Assemble the
dragonfly body.
Fire the
dragonfly using
the suggested
tack-fuse firing
schedule.
Place the
iridescent wings
on top of the
corresponding
wing patterns.
Cut the 1/8"
fiber paper into
12 pieces of 1/2" x 3/4",
then stack and glue 4
sets of fiber paper that
are 2 layers thick.
Glue the single-layer pieces of the fiber paper onto the ThinFire
paper in the middle of each wing. Glue the double-thick pieces of
fiber paper onto the ThinFire paper near the tips of the wings. For
a steeper angle on the wings, use the thicker 1/4" fiber paper for
this step.
22
Cut out the
fiber paper wings
using the fiber paper
wing patterns and
glue them onto the
ThinFire paper.
Press firmly on the areas that rest on the fiber paper pieces under the
wings. Leave a small gap between the glass and the fiber paper wings.
23
Attach the painted
iridescent wings to
the clear wings with
dabs of gel glue.
Each wing is now two layers thick. Glue each glass wing to the
corresponding angled fiber paper wing. The wings will overlap the
lower section of the body.
24
Cut and glue
the wire legs and
antennae onto the
lower body section,
reviewing steps
15 and 16 for details.
Tack-Fuse Firing Schedule
Ramp 1, 400ºF/hr. to 300ºF, hold 8 min.
Ramp 2, 700ºF/hr. to 1370ºF, hold 10 min.
Ramp 3, 9999 (AFAP*) to 960ºF, hold 30 min.
Ramp 4, 160ºF to 750ºF, hold 10 min.
*as fast as possible
25
Cut out the head
and tail sections
of the dragonfly and
add the design details.
Cut the head and tail sections of the body. Nip and glue 10 to
14 chips of dichroic glass to the head and body. Cut and glue two
small pieces of opaque glass for the eyes. See step 14 for details.
Attach the decorated head and tail sections to the lower body with
dabs of gel glue. Align the legs and antennae as needed. Adjust the
wings to properly fit the head and tail. Let the glue set completely
before placing the whole assembly into the kiln.
Fire the
dragonfly using
the suggested
tack-fuse firing
schedule.
26
The dragonfly will develop a layer of crust on the brass wires
after firing. Carefully bend the wire legs and scrape the crust from
the legs and antennae with a piece of 000 steel wool. Adjust the
legs to the desired angle.
GPQ
Wesley R. Wong is an awardwinning artist who designs and
produces custom glass art
from his studio in San Jose, California. His passion for glass
started in 1981 with stained glass, which eventually lead him
into mosaics and fused glass. His work features lots of bright
colors and intricate patterns and has been exhibited in many
juried glass and mosaic shows throughout the United States.
Wesley enjoys sharing his glass knowledge with other
artists and teaches glass workshops through his studio. He
is a member of the Association of Stained Glass Lamp Artists
(ASGLA), Society of American Mosaic Artists (SAMA), and
Contemporary Mosaic Art (CMA). Wesley is also a regular
contributor to the ASGLA annual stained glass lamps calendar. Visit www.glasstastique.com to view more of Wesley’s
work and e-mail him at glasstastique@gmail.com for information on his workshops.
55
Mad Etching Skills
Etched Garden Mosaic Table
Design, Fabrication, and Text by Carmen Flores Tanis
Y
ou can bring the gardens indoors all
year round with this vibrant mosaic
topped table. I combined a lot of my loves
in the design of this table—the look of old
engravings, big floppy flowers and crosshatched leaves from traditional western
wear leatherwork, the use of strong black
lines reminiscent of stained glass windows
and tattoos, jigsaw puzzles, and lovely,
thoughtful quotes. Inspired by so many
ideas, I drew my artwork using pen and
ink on white paper and scanned it into my
computer. Then it was easy to print the
images onto Mad Craft Skills Printable
Resist Film to create masks for etching the
dichroic glass with Etchall Etching Cream.
To get a super flat surface, I used a
double indirect mosaic technique where
the mosaic is built face up on a piece of
adhesive vinyl, covered with another piece
of vinyl, and flipped over so it is face down.
The backing vinyl is removed, and the mosaic is flipped with the face back up again
onto the tile adhesive. It’s my favorite way
to work, because it is so clean—minimal
sticky fingers!
For this project I used a small table with metal legs and a
15" x 13" wooden tray top from the local home decor store. Unscrew
the wood tray from the table legs so that you can work more easily
on the mosaic. In my table, the wood tray was already painted and
sealed, so it was ready to go. If your tabletop has an unsealed wood
finish, paint it first with a couple of coats of acrylic paint. This will
seal the wood against the moisture when the grout is applied later.
Coatings By Sandberg
COE 96 Black-Backed Smooth Dichroic Glass
Blue Gold, 1/8 sheet
Emerald Green, 1/4 sheet
Cyan/Red, 1/8 sheet
Green Pink, 1/8 sheet
Green Magenta, 1/4 sheet
Silver Blue, 1/2 sheet
Rainbow 1, 4" x 4"
System 96®
1009SFL Black Glass, 2 mm, 12" x 12"
56
Mad Craft Skills™
Printable Resist Film, 4 Sheets
Tools and Materials
Etched Garden Mosaic Table Artwork and Pattern Sheet
Access to Laser Printer or Toner Copier
Scissors Glass Cutter Oven Mitts
Alcohol or Glass Cleaner Paper Towels
Pancake Griddle or Electric Skillet
Ceramic Tile or Heat Proof Surface
Plastic Spatula Tweezers
Etchall® Etching Cream Squeeze Bottle
Paint Brush Protective Gloves
Plastic or Glass Dish
Yellow or White Fine-Tipped DecoColor® Paint Marker
Non-Acetone Nail Polish Remover
All Natural Orange Cleaner
Clear Adhesive Vinyl Shelf Paper
Paper Tape Craft Knife Cardboard Sheet
Tile Adhesive Black Sanded Grout
Plastic Spoon and Knife Old Plastic Credit Card
Plastic Cup Small Sponge Plastic Bucket
Small End Table with Wood Tray Top
1
5
Put the sheet
of clear vinyl
with the sticky
side up over
the pattern sheet.
Apply the
resist to
the glass.
You’ll find complete directions for applying the Mad Craft Skills
printable resist sheets and etching the dichroic glass in the Spring
and Fall 2013 issues of Glass Patterns Quarterly. **Please note:
It is very important that the white areas of the images print as pure
white and the black images print as dark as possible. Therefore,
the artwork for this project is not included on the printed pattern
sheet, since downloading the free PDF pattern under the “How To”
section on the GPQ website and printing it at 300 dpi will give you
the best results.
2
Etch all
of the dichroic
glass and remove
the resist following
the directions in the
2013 GPQ articles.
Use a ring
saw to cut out
the etched shapes.
Tape the black-and-white pattern sheet to your work surface. Cut
a piece of clear shelf vinyl a little larger than the pattern sheet. Peel
the paper backing from the shelf vinyl and tape the vinyl, sticky
side up, on top of the pattern sheet.
Cut 1/2"
borders from
the black glass
and apply them to
the sticky vinyl.
6
7
3
Continue assembling the mosaic
by placing all of the etched pieces
onto the sticky vinyl.
You’ll notice that there is a thick black line right next to each
shape surrounded by a thick dichroic line—I’ll call this line “cut”—
then another black line, then the large surrounding dichroic area.
Guide the ring saw blade along the thick dichroic cut line to cut out
the shapes. Save the extra dichroic areas for other projects.
Fire-polish
the etched, cut
shapes to really
make the dichroic
pop and to soften
the cut edges.
4
My favorite fire polishing schedule is at the end of this article.
It’s just like building a jigsaw puzzle.
8
Apply the top
vinyl sheet to
the mosaic.
When all of the glass pieces are in place, cut another piece of
clear shelf vinyl a little larger than the mosaic. Peel the paper backing from the shelf vinyl and press the vinyl, sticky side down this
time, onto the mosaic.
57
Run a craft
knife all along
the outside border
of the mosaic to
trim the top vinyl
to size.
Slide the cardboard piece from under the mosaic and place it on
top of the glass. Flip the mosaic over once more so that it is dichroic
side up again. Use the cardboard to carefully slide the mosaic into
the wood tray and press the glass into the adhesive. Let the mosaic
set for ten minutes, then carefully remove the vinyl sheet. The
adhesive is not dry yet, so you can still adjust the glass pieces as
needed. Let the mosaic dry overnight.
9
This will help later on when you put the mosaic into the wood
tray.
14
Apply the grout.
10
Put a piece
of cardboard
on top of the
mosaic and use
it as a support as
you flip the mosaic
and vinyl sandwich
over.
Mix up the grout according to the manufacturer’s directions.
I like to use an old credit card to spread the grout on the mosaic.
Work it well into all the crevices and let it sit for fifteen minutes.
The mosaic should now be back side up.
11
Peel and remove
what is now the top
piece of vinyl, taking
care to not dislodge
any of the glass pieces.
12
Use a plastic
knife to spread
a thin layer of tile
adhesive onto the
wood tray.
13
Press the
mosaic into
the adhesive and
remove the top
vinyl sheet.
58
15
Wipe any
excess grout
from the mosaic.
Dip a small sponge in a bucket of water and wring it out really
well so that you don’t add any extra water to the drying grout. Use
the flat side of the sponge to gently remove the excess grout from
the mosaic. This is just the preliminary wipe. The grout will still
be pretty wet, so take care not to dig the corners of the sponge into
the grout.
Clean the mosaic lightly, leaving a haze of grout on the glass.
Let the mosaic sit one hour. You will see the grout become dull as it
dries. Use the sponge with a bucket of fresh water to finish cleaning
the extra grout from the mosaic. Let the mosaic dry overnight, then
shine with a paper towel and glass cleaner.
Reassemble the wood tray, which is now covered with the
mosaic, onto the table legs. If you plan on using this table for cool
drinks or other liquids, I would suggest sealing the grout with a
grout sealer following the manufacturer’s directions.
You can easily adapt this project to other sizes of tables by resizing the artwork before you print it in either your favorite graphics
program or in the printer settings. And just think about what you
could make using your own artwork etched into dichroic glass! It’s
a garden blooming full of possibilities.
GPQ
Carmen’s Favorite
Fire Polishing Schedule
Segment 1: Ramp 800ºF/hr to 250ºF and hold 5 min.
Segment 6: Ramp 9999* to 1000ºF and hold 10 min.
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.
59
Capturing Sunflowers in Glass
Design, Fabrication, Text, and Photography by Erica Biery Collins
Edited by Jennifer Walkovich
H
ave you always admired
fields of sunflowers?
Now you can gaze at
these lovely flowers year
round . . . in glass! Sunflowers are recognized worldwide for their beauty and
ability to cheer people up
with their bright and vivid
colors. Why not make a few to
have around the house or to give
as gifts to make someone’s day?
In this article, you will learn to
create different sizes and styles of sunflowers to fit your kiln and personality.
Generally, I start with a clear, round base the
same size or a little smaller than the mold. However,
I have also used different shades of amber or even blue
with spectacular results.
1
System 96®
100SFS Clear for Base Glass, 12" x 12" Sheet
For the Petals
161SF Transparent Yellow, 8" x 12" Sheet
110.2SF Pale Amber Transparent, 8" x 12" Sheet
110.4SF Light Amber Transparent, 8" x 12" Sheet
60-355-96 Marigold Opal, 8" x 12" Sheet
267-72 SF Sunflower Opal, 8" x 12" Sheet
260-72SF Lemon Yellow Opal, 8" x 12" Sheet
Frit for the Seeds
211-74 SF Chestnut Brown Opal
110-8SF Medium Amber Transparent
518-1SF Bronze Transparent
1009SF Black or Black Iridized
Tools and Materials
Rippled Plate Mold (10"-diameter x 3/4")
Liquid Hair Spray Paint Brush
Frit Sifter or Screen
60
Cut the
round base
from the clear glass
and the smaller center
disk in one of the
amber or yellow
sunflower colors.
Mark the center of the smaller disk with an X and place the
middle of the flower in the center of the clear base. You can make
your center circle a pale amber or yellow, depending on the color
of your seeds.
2
Select and
cut the glass
for the petals.
I measure from the outside of the center circle to the outside
edge of the base. This will serve as the length for the petals. They
can hang over the edge a little, but not so much that it will slump
over the edge of the mold.
I like to use System 96 glass for my sunflowers, since there is a
lovely array of transparent and opaque yellows and ambers . . . even
a perfect color called Sunflower. Depending on what I have in stock
in my studio at the time, I like to mix a variety of opaque and transparent glasses to give the sunflower more depth. Each sunflower
comes out a little different depending on what colors are used.
For the seeds, I use a variety of colors such as opaque browns,
transparent ambers, and bronzes, as well as a little bit of black or
black irid to give it some sparkle in the center. Do not use too much
black, though, since it tends to take over the other colors. I take my
sunflowers to a tack or contour fuse to give the petals and seeds more
dimension, but they can also be taken to a full fuse if you prefer.
I hope you enjoy creating these sunflower bowls as much as you
enjoy having them around your house or giving them to a friend.
And you don’t even have to worry about watering them! GPQ
Firing Schedules
3
Here are the schedules that I used for fusing and
slumping the sunflower. These temperatures and times
are based on my kiln. You may need to make adjustments
for your own.
Stack the petals
2 or 3 levels high
depending on what you
think looks good and
glue them down.
Try to keep all of the levels of glass consistent. When it’s time
to add the frit to the center of the flower, it should be stacked as
high as the layers of petals surrounding it.
Once I have all my petals arranged, I glue them down using small
drops of liquid hair spray. It takes about 10 to 15 minutes for the
hair spray to dry. In the meantime, I prepare the seeds.
4
Fill the center
of the sunflower
with a mixture of
different colors of frit.
You can use premade frit, create your own with a frit maker, or
wrap colored glass in newspaper and strike it with a hammer until
you have a course mix of glass pieces. Very important: Make sure
you wear a dust mask while working with the frit.
Use a screen or frit sifter to separate out the powdered frit. I
like to use fine and coarse particles for the seeds. Remember that
frit shrinks 40 percent, so don’t be afraid to pile it up to the same
height as the petals. Use a paint brush to move any particles that
fly onto the petals.
This server was slumped on a 15-1/2" x 5" x 1" 3-section server mold.
Tack-Fuse Schedule
Segment 5: Ramp 500ºF/hr to 700ºF and no hold.
Slumping Schedule
Erica Biery Collins is a glass artist from
Northampton, Pennsylvania, who was introduced to the glass industry many years ago
while working at a stained glass warehouse.
During her tenure there, she traveled the
country learning various glass techniques from worldrenowned artists. She now uses her knowledge and skills
to create stunning glass pieces using fused glass, stained
glass, and mosaics.
Erica exhibits in local juried fine art shows, gift shops,
and art galleries throughout Pennsylvania. She emphasizes
finding ways to integrate the various mediums for architectural purposes such as lighting, wall mosaics
using fused pieces, stand-alone stained glass, or
mosaic designs with fused glass accents.
© Copyright 2014
by Glass Patterns Quarterly.
61
Wall Vase
Deep Pockets without the Hassle
Design, Fabrication, and Text by Petra Kaiser
O
nce in a while I fuse twice. And this is one of those projects.
Pocket vases seem to be a popular theme in our classes at Kaiser
Lee. Lately we have even made a pocket knitting needle holder.
The challenge with those vases is the pocket. In the past we have
used 2 to 3 layers of 1/8"-thick fiber paper, because if the pocket
was really deep, it was hard to get the paper out. But I think we
have found a really interesting way to create those vases. Thanks
to David Alcala, we now know that we can use Scotch tape in the
kiln and on the glass without any trouble, since it fires completely
away. He just opened another can of opportunities.
The glass we chose for this project is a Wissmach 90 Luminescent™ Light Green, which has an iridescent coating. Since iridescent
glass and Kaiser Lee Board are a perfect match, we asked Wissmach
to iridize some glass for us. We have been testing it for about a year
now, and it works really well for our projects.
Prepare the
Kaiser Lee Board
and set up the
mold for firing.
Wissmach 90™
Luminescent™ Light Green
Additional Glass
Irid in Clear, Colored, or Black as Desired
Clear
Tools and Materials
Kaiser Lee Board Strips, 2
Shelf Paper Scrap Scotch™ Tape
Kaiser Lee Board Powder, 1 cup
Round Dowel or Other Similar Object
Putty Knife Dry Kiln Wash Powder
Copper-Colored Accent Paint
62
1
Get dressed with your usual safety gear and cut two strips of
Kaiser Lee Board (KLB) at least 2" wide and up to 12" long. The
length of the strips will depend on the size of your kiln and the
length of the vase that you would like to create.
Take a putty knife, a piece of glass, a sanding blog, or even your
fingernails and carve a pattern into the strips. You can carve both
sides for a variety of patterns. If you have not done it yet, please
go online and see our how-to video on cutting and carving Kaiser
Lee Board strips at www.kaiserlee.com/videos.
Set the strips onto a fiber shelf or prepare a clay shelf with fiber
paper to avoid uneven heat distribution on the clay shelf. Place the
strips about 1" apart and use some of the KLB powder left over
from carving and cutting the Kaiser Lee Board to fill the gap about
1/4" high. Now use your finger to make a pattern in it. For easy
release, you can powder the mold setup with dry kiln wash powder.
Cut the
front glass.
2
I like to use iridescent glass whenever the shelf side of the glass
will be the front. This is called reversed fusing. You can use clear
irid or any other irid glass. If you use a black irid, your carvings
will come out really sharp and elegant. There is no need to cut the
glass just in a rectangle. You can cut it on an angle or give it a curvy
edge. Remember that it is all about making an interesting piece of
glass art. Now perform the first firing.
Place the clean piece of glass, irid side down, onto the mold
assembly and fire. Since all kilns are different, you may need to
adjust the following schedule to fit your own kiln.
Segment 1: Ramp 600°F/hr to 1000°F and hold 10 minutes.
Segment 2: Ramp AFAP* to 1430°F and hold 10 minutes.
Segment 3: Ramp AFAP* to 960°F and hold 30 minutes.
Segment 4: Ramp 100°F/hr to 700°F and hold 1 minute.
*AFAP
3
Take a piece of shelf paper and drape it around a long, round
dowel or any other similarly shaped and sized item between 1/2"
and 1" in diameter and about 12" long. Tape it closed with Scotch
tape on the sides and the bottom. (Isn’t it wonderful that the tape
just fires away in the kiln without damaging the glass or anything
else?) Take a spoon and fill the tube with KLB powder. The powder
can be about 2" shorter than the base glass.
4
6
After the vase is cooled down, remove it from the shelf and let
the Kaiser Lee Board powder gush back into the cup. You can help
it a bit with a stick. The shelf paper washes out easily, but don’t wet
it until all the powder is out.
Put a little nail in the wall and hang the vase from the little hole
in the back. Or wrap some wire and beads into the holes on the side.
Now you’re ready to enjoy real flowers on your wall.
GPQ
New Luminescent™ Glass from Wissmach
Place the fiber
tube in the well
created between
the two strips of
Kaiser Lee Board.
Take out the shelf/mold assembly with the glass. Leave the glass
on the shelf and place the tube in the newly formed space. Make
sure you use enough tape, or the tube will come apart.
Prepare the
back glass and fire.
Segment 1: Ramp 300°F/hr to 1000°F and hold 10 min.
Segment 2: AFAP* to 1430°F and hold 10 min.
Segment 3: AFAP* to 960°F and hold 60 min.
Segment 4: Ramp 100°F/hr to 700°F and hold 1 min.
Clean out the
vase and get ready
to hang it.
Prepare the
fiber tube.
5
Use a piece of clear glass about 1" to 2" shorter and 1" narrower
than the base glass and cut off a 1/4" strip of the top, which will
create the hole to hang the vase. Then add your desired design on
the clear glass with the copper-colored Accent paint.
Lay the pieces on the base glass with the painted side up and let
them dry before you fire them. Place the pieces in the kiln and fire
again using the following firing schedule, adapting as necessary
for your own kiln.
Paul Wissmach Glass has developed a coated glass that
is similar to the iridescent coatings but not exactly the same.
They are calling it Luminescent™ glass. It creates different
effects, depending on the way you fire it:
• Coated side down on a Kaiser Lee Board fiber shelf, and
the coating will intensify.
• Coated side down onto a kiln washed shelf or shelf paper
and it will still look intense but different.
• Coated side up, and the luminescent coating will fade a bit
on lighter colors but still give the glass a beautiful sheen.
• Cover the coated side with a piece of clear, and the coating
will fade away completely.
Working with all these options will offer you a nice new
palette of design possibilities that we will introduce to you in
a series of projects. We have been fusing with the luminescent
coated glass for over a year now, and as with any glass, you
have to see it to believe it. Photos cannot show you how the
light reflections play with the glass. I can only tell you that
our customers and students like it a lot.
63
Armour Products
Petra Kaiser, internationally
renowned kiln formed glass artist
and instructor, has a distinctive style
that captures Florida sun, light, and
water in sculptures, functional glassware, and wearable designs. She is
always drawn to 3-D sculptures and
abstract shapes, and when first introduced to glass fusing
in 1997, she found the available mold options rather limiting. This gave birth to Kaiser Lee Board, a perfect casting
medium developed by Petra and husband Wolfgang, that
is easy to cut and form into any shape for fusing molds.
Petra loves to teach and shares her cutting-edge techniques and designs with students in her Fuse It Studio and
all over the world, and is a regular instructor at the Glass
Craft & Bead Expo, BIG Arts, and Edison State College.
She has also shared her innovative ideas in three books
from Wardell Publications as well as through numerous
articles in various international glass magazines. Visit
www.kaiserlee.com to learn more about Petra’s glass art
and workshops.
Innovator of creative glass etching products...
Serving the Craft Industry for over 30 years!
176 -180 Fifth Avenue, Hawthorne, NJ 07506
Phone: 973-427-8787 Fax: 973-427-8823
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64
Glories in the Garden
Design and Fabrication by Emily Zuccaro, Text by Leslie Gibbs
M
y friend and neighbor, Emily, comes by occasionally to
chat and craft projects in glass. She always has a bounty of
ideas that she converts into glass art, embracing any technique
to achieve her vision from fusing and slumping to using dichroic
slide to adorn her projects. This enthusiastic outlook is what
makes Emily a very interesting thirteen year old!
Recently, Emily wanted to create something special for her
very special grandmother, who lives halfway across the country
in Chicago, Illinois. Since her grandmother enjoys gardening,
Emily decided to construct a garden stake, insuring that there
would always be something blooming in the garden regardless
of the season. She knew her grandmother’s favorite flower was
the morning glory, so she set out to fabricate that splendid blue
flower in glass. The blossoms of the morning glory unfurl in the
morning, closing up tightly as the day warms. Their vines entwine
around fences, posts, and even one another. After laboring over a
few studies of the flower on her sketch pad, Emily came up with a
design and began the process to transform her sketches into glass.
Emily wanted to use a pure blue glass with a hint of
red for the blossoms and a combination of greens for the
heart-shaped leaves. She also wanted to depict the winding vines and the star shape that appears in the center of the
blossom. Once we had secured a good, sturdy garden stake
as a base, we began the search through fusible glass that
would fulfill Emily’s vision of blooms that would never fade.
System 96®
230-72SF Medium Blue for Open Flower Petal, 3" square
226-74SF Amazon for Leaves, 4" square
240-72SF Mauve for Side Flower Petal, 3" square
Uroboros Glass Studios
60-00-96 Clear Double Rolled Smooth for Base/
Background Glass, 5" square
Fine 96 COE Frit
F2-200-96-8 White Opal
F2-121-96-8 Light Green
F2-2602-96-9 Yellow Opal
Tools and Supplies
Light Green Glassline Paint Craft Glue
Toothpicks Fine-Tipped Paint Brush
Medium-Tipped Paint Brush Saral Transfer Paper
Aftosa or Other Durable Metal Garden Stake
E6000 adhesive
“In the dewy
Freshness of the morning,
they smile respectful greetings
to the Goddess of the Sun.”
Japanese poem
Photography by Jon Gibbs
65
Prepare the
artwork, making
any adjustments
necessary to fit
the garden stake.
Place the Saral transfer paper on the larger of the two blossoms
after it has been cleaned and dried. Position the star center pattern
section on top of the transfer paper and follow the outline of the
star with your ink pen or pencil.
1
Garden stakes are available with many different shapes and sizes
of openings, so you may need to adjust the pattern to fit the stake
you choose. After making a template of the garden stake’s opening,
adapt the artwork to fit inside that shape.
Use a fine-tipped
paint brush to apply
a layer of craft glue
within the outline
of the star shape
on the flower.
6
2
Make two copies
of the final pattern,
one for the layout
sheet and one to cut,
then number the
sections of the
flower, if desired.
7
Sprinkle on the white frit for
the star and the yellow frit
for the flower center.
3
Cut the flower
and leaf sections of
the glass, then cut the
clear base glass using
the template of the
garden stake opening
as a guide.
Sprinkle a generous layer of white frit onto the glue and shake
or brush off any excess. Add a dot of craft glue to the center of the
star and carefully cover the dot with the yellow frit. Set the piece
aside to dry. Follow the same procedure with the smaller blossom.
A bit of green frit applied to the leaves gives them some interest
and dimension. Just place a few dots of craft glue onto the leaves and
sprinkle with green frit. Brush or shake off the excess and let dry.
4
8
Grind all of
the cut sections
of glass.
Paint in the vines.
Wash each section thoroughly to remove any fingerprints, then
place the sections onto a clean dry cloth. When picking up a section to work with, be sure to pick the glass up by the edges to avoid
fingerprints.
5
Transfer the
flower design.
66
Place the clean base glass section over the pattern. Following the
artwork, trace the lines of the vines with the Light Green Glassline
paint. You may want to practice a few times on a piece of scrap
glass to get the consistency of the line just right. Any mistakes can
be cleaned up with a toothpick. Set the base aside to allow the paint
to dry for about a half hour.
9
Attach the leaves and flowers to the base.
With the clear base on top of the pattern, add a few drops of craft glue to the
areas where both the flowers and the heartshaped leaves will be placed. Carefully
position each leaf and flower in its place
on the design. Give the adhesive about one
hour to set.
Thirteen-year-old Emily Zuccaro was only twelve and
in the sixth grade at Summit Questa Montessori School
when she made this garden stake. She lives in Hollywood,
Florida, with her mom, dad, two brothers, and sister. Her
most faithful companion is a four-year-old American bulldog named Buddy. Emily enjoys all sports, but especially
softball. She developed a love for creating glass art from
her neighbor, Leslie Gibbs, who is a a professional glass artist.
Emily’s first project was simple but beautiful—a fiery
orange-and-red glass sand dollar. Within a year, she had
begun designing and making her own jewelry, and that
led to her own glass creations. Her designs were inspired
by gifts for family members and friends. Emily is very
thankful for the support, patience, and instruction that
Leslie has given her.
10
rrurr Srrvrrr Rrrrrr Srudrr & rrrrrr sq ft
rf Arr Grrss runr rrrrrr rrnrd &
rprrrrrd srnrr rrrr!
When the glue is set, put the entire piece
into the kiln.
Vent the kiln lid to burn off the adhesive.
When the temperature reaches 1000ºF, close
the kiln and let the temperature ramp up to
between 1400ºF and 1440ºF. We are going
for a dimensional fuse, so be sure to monitor
the progress of the fuse, since all kilns differ
slightly. When you are satisfied with the fuse,
turn off the kiln and let it slowly return to
room temperature.
The garden stake that we used had a
small “lip” or frame to hold the glass artwork. Some of the stakes have clamps that
secure the glass. Whichever type you use, I
recommend cleaning the edges of the stake
where the glass touches, then adding a bead
of E6000 adhesive along the edge. Place the
glass panel onto the lip and let it dry for at
least 24 hours.
Garden stakes are the quickest way to
insert color and whimsy into your home and
garden. They can liven up an indoor plant,
decorate your balcony or patio, and bring a
bit of happiness wherever you place them.
Emily’s morning glories celebrate the dawning of a new day, every day, and are a genuine
gift of love from the heart of a budding artist.
GPQ
© Copyright 2014
r rusrngr Mrsrrrr & Srrrnrd Grrss
Crrssrs YrrrrRrundr Errrting
Mrsrrr Crursrs & Vrsrting Artisrs
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67
What’s New
Glass Craft & Bead Expo will be celebrating its 20th year at the
South Point Hotel & Casino during its upcoming show in Las Vegas,
Nevada, March 26–30, 2014. Once again, there will be over 250 classes
offered plus a show floor packed with all of the products, supplies, and
equipment that you need to create your masterpieces. Attendees will
rock South Point’s showroom with the ’80s sensation, Spazmatics, for
a night of fun. The Glass Cutting Contest will also be back by popular demand and will be
held on the show floor Friday at 5 p.m. There is something for everyone at the Glass Craft
& Bead Expo. For more information, please contact Patty.
800‑217‑4527 patty@lvmanagement.com
www.glasscraftexpo.com
D&L Art Glass Supply is excited to present 4" square pieces of
Profusion Patterned Dichroic Glass. Artists can choose from
a myriad of color and pattern combinations that are available
in both 90 and 96 COEs. These great new offerings from D&L
are perfect for those wanting to work with this fun accessory
glass while staying within a budget. Call or visit the company’s
website to learn more.
800‑525‑0940 303‑449‑8737
www.dlartglass.com
Diamond Tech has expanded its manufacturing to include art glass chemicals.
The new Studio Pro Finishing Compound, Copper and Black Patinas, and Stained
Glass Cement are each specially formulated and designed for the glass artist. The
Finishing Compound protects against tarnish and ensures a bright, even, durable
finish on solder seams, even those treated with patina or electroplating. Formulas for the new copper and black patinas provide a
nice finish to leaded solder or lead came and come premixed. The
stained glass cement allows glass artists to secure glass tightly
to lead with a fast-setting formula that hardens, strengthens, and
waterproofs leaded glass panels. It’s special formula also has special polymers
for pliability. Visit the company’s website to discover all of the features and benefits of
these new products.
646‑351‑1591 info@diamondtech.com
www.diamondtech.com
Master Artisan Products introduces the Big Fella Sifter/Sorter
for the serious glass artisan who wants to make frit in serious
quantities. This big brother to the company’s regular sorter/sifter
has five tiers of 12" x 12" x 12" metal trays with varying sizes of
mesh to sort frit into mosaic, coarse, medium, fine, and powder.
250‑382‑9554 sales@masterartisanproducts.com
Top Tools presents a Two-Part Bead Display Stand with ORing. There is finally a good-looking, easy-to-transport 1‑1/5"–
diameter bead display base. The mandrel is 3/32" in diameter.
The display rod screws into a weighted zinc base for stability,
features two-part assembly for easy travel, and unscrews for
packing and shipping. A black O-ring is included for display
height adjustment. This great new base makes doing displays free
and easy. Available from Art Glass Retailers and Distributors.
Professional Glass Consultants and EtchMaster are excited to announce the launch of
their new website, PrecutPatterns.com. After twenty years, the companies’ entire stencil
68
collection is on one website, allowing etching artists to view the
various designs and order stock sizes right online. Now anyone
can order precut stencils even without being a Design System
member. Members will eventually have special access to locked
pages that will give them design updates and other special features.
Call or visit the website for more details.
888-382‑4776 info@precutpatterns.com
www.precutpatterns.com
McMow Art Glass Inc. is excited to announce a recent partnership
with Bullseye Glass Co. as of February 1, 2014. As a new Bullseye
dealer, McMow will now be offering the full line of Bullseye glass
and products at competitive prices. In addition, all Bullseye glass
and products will be discounted up to 25 percent off year round.
McMow’s newly renovated studio now consists of a 10,000-squarefoot teaching facility, as well as full service retail and warehouse space. There are also three
new certified glass teachers in the studio teaching kiln forming techniques for beginners
to novices. The company will continue to expand its teaching capabilities to cater to those
wishing to learn the glass arts or perfect their skills.
561‑585‑9011
www.mcmow.com
Upcoming
Glass Expert
Webinars™
Live, Two-Hour, Interactive 2014
Web Workshops with
Renowned Glass Artists
No Traveling Required!
Peggy Pettigrew Stewart
Verre Églomisé
April 15
Master Artisan Products now has the Frit Monster for glass artisans
who would like to make commercial volume frit. The Frit Monster
features a monster-sized 6" x6" x 6" steel container with a chisel head
that is fitted onto a heavy-duty smasher. This configuration allows
for the use of a pneumatic air hammer to pound frit at turbo speed.
250‑382‑9554
sales@masterartisanproducts.com
Gil Reynolds
New Ways to Fuse
April 22 & 24
Timeless Tiffany has up to 40 percent of list pricing available on
full sheets at its “Stained Glass Supplies on Sale” website. Save on
Bullseye 90 COE and standard as well as Spectrum System 96® and
standard glasses. Order online to have glass shipped or pick it up at
Timeless Tiffany in Elkton, Maryland. There are also new larger shipping sizes available on full sheets. See the company’s main website
for more information.
410‑287‑3900 www.timelesstiffany.com
www.stainedglasssuppliesonsale.com
D&L Art Glass Supply is proud to present new glass products from
Bullseye Glass Co., including iridized sheet glass, frit hues with two
striking colors, stringer, and more. The new additions to D&L’s 90 COE
line will help finish a color palette or inspire artists to try something new.
800‑525‑0940 303‑449‑8737
www.dlartglass.com
Diamond Tech has announced the launch of its new website, which merges the best
of both worlds—craft and art glass. It features expanded
content and product, large bold graphics, and a completely
new navigation system. The redesigned site aims to provide
users with a clean, uncluttered environment, thus allowing them quick access to the key
information they seek. The company will continue to update, improve, and adapt the site
to meet its customers needs, making it one of the most resourceful tools for all who visit.
646‑351‑1591 info@diamondtech.com
www.diamondtech.com
Ed Hoy’s International presents the Gallery Pendant, a no-glue option for jewelry that
is interchangeable. The open-topped frame allows artists to change their fused glass in
Petra Kaiser
Fusing with Petra
May 20
Visit the Glass Expert Webinars™
link under “What’s New” at
for more details and local times.
69
seconds, creating glass pieces and switching them on a whim. Insert the glass, attach a cord
or chain, and you’re done. The sterling silver–plated face provides an elegant border for
your glass. The cavity for the square and circular styles is 1" x 1" x 5/16", while the cavity
for the rectangular and oval styles is 1" x 1‑1/2" x 1/4". The square and circular faces are
interchangeable, so if you want a deeper cavity with a circle frame, just switch the faces.
Each pendant features three holes in the bottom for optimal dangling embellishments. Visit
Ed Hoy’s website for more information.
800‑323‑5668
www.edhoy.com
Master Artisan Products presents Big Waves Molds
for glass artisans who are looking to create large projects.
These stainless steel molds come in 12" x 24" and 12" x 18"
sizes. Visit the company’s website for more information on
these molds and other great products for glassmakers.
250‑382‑9554 sales@masterartisanproducts.com
Coatings By Sandberg (CBS) announces the new Mini-Double Splatter Pattern. This
phenomenal new pattern fulfills requests from clients for Dichroic patterns that are tighter
and smaller. It comes in a variety of exotic colors and is further amplified by double coating
the splatter patterns. The result is many beautiful color shifts and layered color combinations that are not found in any other type of patterns. Because the glass is coated on both
Angle
Lead Shears™
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Both products available exclusively from 1Glass Impressions
1GlassImpressions.com
(920) 382-1807
70
714‑538‑0888
www.cbs-dichroic.com
LAMP BASE
SPECIALTIES
sides, this pattern is available in clear only. In addition,
the color combinations vary greatly and will come in a
medley of random compositions. CBS is currently offering this pattern in both 90 and 96 COE in 4" x 4" squares
only. Side-by-side comparison photos of the original
Splatter Pattern and the new Mini-Double Splatter are
on the company’s website for easy reference.
D&L Art Glass Supply is constantly adding new bevel clusters to the
company’s Choice, American, Infinity, and Glassmith Studio lines.
Bevel clusters are a gorgeous way to add depth and dimension to
stained glass pieces, expecially on doors and door sidelights. From
simple to intricate designs, D&L has a bevel cluster for every need.
800‑525‑0940 303‑449‑8737
www.dlartglass.com
819‑383‑1681
www.jeanbeaulieu.com
Canadian artist, Jean Beaulieu, presents Oriental Fragrance: Illustrated Designs of Oriental Culture. This
new collection includes thirty-one designs for the glass
enthusiast that cover all levels of expertise from beginner and intermediate to expert. Included are designs for
Oriental portraits, symbols, origami shapes, and fans for
panels and free-form projects.
GPQ
Visit our NEW website, www.aaeglass.com.
FREE Videos, Marketing Tips,
Project Pictures & Tutorials
Your one-stop shop for glass fusing supplies!
Order online, by phone, or stop in at our shop.
• 7,000-Square-Foot Teaching Facility
& Bullseye Glass Warehouse
• 25% Off All Bullseye Products, All Day, Every Day
• Retail Store with Unique Fused Glass
& Hot Glass Supplies
• Bullseye Kiln Glass Resource Center
• Classes, Workshops & Visiting Guest Instructors
• Distributors of Bullseye Glass, CBS Dichroic,
Olympic Kilns, Covington & More
• Free Open Studio
Now Accepting Wholesale Accounts
20" Antique Tree 4-lite cluster
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AAE Glass Art Studio 1228 Lafayette St. Cape Coral, Florida 33904
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For a list of current classes & workshops, visit www.aaeglass.com.
71
Oversized Leaves
Design by Christie Wood, Text by Delynn Ellis
A
willowy spray of leaves over a warm sunset background imparts the feeling of spring’s greenness
and optimism for the season. This 24" x 75" pattern
would make a wonderful design for a sidelight with its
long rectangular shape. It certainly could be adapted to a
transom-style window as well.
This pattern is one of sixty-four from Christie Wood’s
Say It With Flowers CD available from Dragonfly Software. This collection offers a celebration of the beauty,
power, and the joy of flowers. Included are designs that
cover a wide range of styles—everything from complex
floral bouquets. architectural inserts, and floral landscapes
to some very large, complex windows and an extensive
set of simple, close-up suncatchers. All of these designs
are based on natural depictions of real flowers taken from
photographs to showcase the stunning variety and complexity of nature at her finest.
GPQ
Wissmach Glass Co.
112-LL Dark Green/Dark Amber/Opal for Leaves, 5 Sq. Ft.
23-L Light Green Opal/Copper Red for Leaves, 5 Sq. Ft.
WO-57 Medium Green/Opal/Crystal for Leaves, 4 Sq. Ft.
WO-94 Medium Purple/Amber/Opal/Crystal
for Background, 10 Sq. Ft.
Tools and Materials
Black Patina 1/2" U-Channel
72
FLORIDA
GEORGIA
The Stained Glass Shop
Art Glass by Sonya
Jennifer’s Glass Works LLC
6232 W Bell Rd Ste 101
Glendale, AZ 85308
602-504-0553
www.stainedglass-shop.com
Tumbleweed Stained Glass
865 E Semoran Blvd
Casselberry, FL 32707
407-230-5521
www.artglassbysonyainc.com
2636 W Baseline Rd
Glassic Arts Stained Glass
888-261-7091
Deland, FL 32720
Mesa, AZ 85202
320 S Spring Garden Ave Ste E
www.TumbleweedStainedGlass.com
386-738-1008
Kachina Stained Glass
1762 S Greenfield Rd
Mesa, AZ 85206
480-655-2000
www.kachinastainedglass.com
www.glassicarts.net
D & A Stained Glass Creations
6954 US Hwy 41 (N Florida Ave)
Holder, FL 34445
352-465-0834
Phoenix, AZ 85032
Southeastern United States
www.BlueHillsGlassandBeads.com
Art Glass and Stamp Studio
CALIFORNIA
Lakeland, FL 33803
13643 N 37th Way
480-948-1169
Arrowhead-Camur Stained Glass
1160 E Highland Ave
San Bernardino, CA 92404
909-881-0888
www.arrowheadcamurglass.com
of glass tools and supplies in the
2320 E Edgewood Dr
863-683-6522
McMow Art Glass
701 N Dixie Hwy
Lake Worth, FL 33460
561-585-9011
COLORADO
www.mcmow.com
The Dragons Cache
Art Glass Design Studio
1109 7th St
Greeley, CO 80631
970-353-1051
CONNECTICUT
The Stained Glass Apple
496 Glen Brook Rd
Stamford, CT 06906
203-358-8700
1329 S 14th St
Leesburg, FL 34748
352-365-6699
D & L Stained Glass Inc
2625 N Harbor City Blvd (US 1)
Melbourne, FL 32935
321-242-6017
www.DLSGLASS.com
4875 S Atlanta Rd
Smyrna, GA 33080
800-241-3388
IDAHO
Legacy Glass Art
1407 Jefferson St
Boise, ID 83702
208-336-3040
www.LegacyGlassArt.com
ILLINOIS
Suevel Studios
870 S Arthur Ave
Arlington Heights, IL 60005
224-735-2376
www.suevelstudios.com
Art Glass Studio of Belleville
Arranged Alphabetically by State, then City
BlueHills Glass and Beads
Most extensive in-stock selection
Stained Glass Supply Shops
ARIZONA
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
www.oreillysstainedglass.com
Victorian House
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
Prism Works
555 Portland Rd
Bridgton, ME 04009
69 Fall River Ave Rt 6
508-336-5455
karensge@comcast.net
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
Glass Endeavors
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
350 Culver Rd
Rochester, NY 14607
585-288-7830
Full line of supplies, classes,
and stained glass
Holidaze Stained Glass
104 S 10th Ave
Hattiesburg, MS 39401
601-550-4137
www.seraphimglass.com
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
The Glass Workbench
318 S Main St
St Charles, MO 63301
636-946-2002
www.theglassworkbench.com
302 S 8 St
th
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
Chepachet, RI 02814
401-568-5140
TENNESSEE
Fountain City Stained Glass LLC
The Glass Angel
224 E Front St
Burlington, NC 27215
336-227-1231
Full line of supplies and classes
www.theglassangel.com
1328 Buchanan Ave
Reflections
947 Carter Dr
Calabash, NC 28467
910-575-3503
Blue Moon Glassworks
OHIO
Busy Beaver Arts & Crafts
3445 Dayton-Xenia Rd
Beavercreek, OH 45432
937-429-3920
Leaded Glass Design
1755 State Rd
Cuyahoga Falls, OH 44223
330-929-4514
www.leadedglassdesign.com
Glass Creations
6786 State Route 128
Miamitown, OH 45041
513-353-4455
OREGON
Roses Glassworks Art Glass School
10105 SW Hall Blvd
Portland, OR 97223
503-246-9897
www.rosesglassworks.com
Knoxville, TN 37917
865-688-3333
Email: fountaincitystainedglass@comcast.net
TEXAS
108 W 43rd St
Austin, TX 78751
512-380-0770
www.austinbluemoon.com
Merry Go Round
Stained Glass Center
3021 Lackland Rd
Fort Worth, TX 76116
817-763-0589
www.merry-go-roundstainedglass.com
GlassCraft Supply
2002 Brittmoore Rd
Houston, TX 77043
713-690-8282 / 800-231-0148
www.glasscraft.net
A Statement in Glass Inc
301 W Main St
LaPorte, TX 77571
281-470-1314
Glass Garden Inc
913 W Loop 281 Suite 122
Longview, TX 75604
903-234-0201 / 903-758-7713
75
Tobiason Studio
712 Putnam Pike Route 44
MISSISSIPPI
CANADA
Artistry in Glass
San Antonio, TX 78240
Alphabetically arranged by
London, ON Canada N6H 5L7
7515 Eckhert Rd
210-647-7475
province, city, then store name
www.sgcworkbench.com
Four Winds Art Glass
VIRGINIA
10050 -81 Ave NW
Laurel Gallery
Edmonton, AB Canada T6E 1W8
Richmond, VA 23228
www.fourwindsartglass.ca
www.laurelgallery.net
Cranberry Stained Glass
780-432-4331 / 877-432-4331
2805 Hungary Rd
804-672-6804
110 Chain Lake Dr
Bluebird Stained Glass Studio
2163 Jefferson Davis Hwy #103
Stafford, VA 22554
519-641-0443 / 877-386-1116
www.artistryinglass.on.ca
Glasscraft
159 Broadway
Orangeville, ON Canada L9W 1K2
519-941-2505
Stained Glass Stuff
911 Richmond Rd
Ottawa, ON Canada K2A 0G8
888-249-9421 / 613-722-8702
www.stainedglassstuff.com
www.cranberrystainedglass.com
Canadian Stained Glass Warehouse
WASHINGTON
Huronia Art Glass
Quebec City, QC Canada G1L 2X3
Glass Expressions
Barrie, ON Canada L4N 9A6
Burien, WA 98166
www.huroniaartglass.com
www.bluebirdstainedglass.com
Halifax, NS Canada B3S 1A9
902-876-5167 / 866-377-5167
540-720-4296
680 Bay View Dr Unit 3
648 SW 152nd
705-721-1323
206-242-2860
Loon’s Call Studio
WISCONSIN
5 Pinehill Dr RR#4
Brantford, ON Canada N3T 5L7
The Glass Garden LLC
519-752-9949
25 W Milwaukee St
www.loonscallstudio.com
Janesville, WI 53548
608-754-3718
www.eglassgarden.com
Glasscraft
The Vinery
Grand Valley, ON Canada
31 Main St
1422 MacArthur Rd
519-928-5243
Madison, WI 53714
www.glasscraftcanada.ca
608-271-2490
www.vineryglass.com
Fired-Up Glass Arts
Hearts Desire Stained Glass and Beads
234 A Marina Ct
527 Adelaide St N
London, ON Canada N6B 3J4
Waterford, WI 53185
519-672-2787
www.heartsdesirestainedglass.com
www.firedupglassarts.com
262-763-6733
76
Vantage Point 3 Unit E
#105 - 1674 Hyde Park Rd
Bullseye Glass Resource Center
1017 3rd Ave
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.
Hydrangea Wreath
Design by Christie Wood, Text by Darlene Welch
T
his striking 25-1/2" x 25" stained glass
floral pattern, Hydrangea Wreath,
comes to us from the pattern CD
Say It With Flowers by Christie
Wood. Available from Dragonfly Software, this collection
features sixty-four designs
that celebrate the beauty of
every flower imaginable and
provides the glass enthusiast
with a multitude of design
possibilities. Included are
rectangular, circular, oval,
and arched panels, many
of which would be perfect
for window and sidelight
designs.
Additional wreaths featuring spring, summer, and
winter fruits and florals are
also included, with other panels showing flowers arranged
as single blossoms or groupings of multiple floral varieties.
There is even a tryptich depicting
an outdoor scene of a calla lily field, as
well as other floral landscapes. All of the
designs are based on natural depictions
of real flowers taken from photographs and
come to life through the careful selection of glass
colors and grain, which adds depth and shading
GPQ
to the designs.
Wissmach Glass Co.
8-D Gold-Pink/Cobalt Blue for Flowers, 1 Sq. Ft.
119-L Cobalt Blue/Light Opal/Crystal Light Opal for Flowers, 2 Sq. Ft.
119-LL Cobalt Blue/Light Opal/Crystal Streaky for Flowers, 2 Sq. Ft.
WO-437 Dark Blue/Light Amber/Medium Purple/Opal/Crystal for Flowers, 1 Sq. Ft.
100-L Dark Green/Opal Swirl for Leaves, 3 Sq. Ft.
Tools and Materials
© Copyright 2014
77
Advertisers’ Index
Advertiser
Contact Info
Page
1 Glass Impressions (920) 382-1807 www.1GlassImpressions.com 70
AAE Glass www.aaeglass.com 71
Aanraku (650) 372-0527 www.abasg.com 9
Anything in Stained Glass (800) 462-1209 www.anythinginstainedglass.com 25
Armour Products (973) 427-8787 www.armourproducts.com 64
B&B Etching Products, Inc. (623) 933-4567 www.etchall.com 59
C & R Loo, Inc. (800) 227-1780 www.crloo.com 20
Clean-All www.buycleanall.com 64
Cress Manufacturing (800) 423-4584 www.cresskilns.com 79
Diamond Tech (800) 937-9593 www.DiamondTechGlass.com 15
D & L Art Glass Supply (800) 525-0940 www.dlartglass.com 59
Edco Supply Corporation (866) 397-4777 edcofloridawest@aol.com 31
Evenheat Kiln, Inc. (989) 856-2281 www.evenheat-kiln.com 53
Firelite Forms (888) 800-3901 www.fireliteforms.com 68
Flight Into Fantasy Ask Your Local Supplier
29
Franciscan Glass Company (800) 229-7728 www.franciscanglass.com
19
Franklin Art Glass (800) 848-7683 www.franklinartglass.com 25
Fused Fantasies (800) 719-0769 www.GlassPatterns.com 31
Fusion Headquarters (503) 538-5281 www.fusionheadquarters.com 64
Gemini Saw Company Inc. (310) 891-0288 www.geminisaw.com25
Glass Accessories International www.glassaccessories.com
13
Glass Craft & Bead Expo (800) 217-4527 www.glasscraftexpo.com
78
Glass Expert Webinars™ (800) 719-0769 www.GlassPatterns.com 53/69
Glass Patterns Quarterly (800) 719-0769 www.GlassPatterns.com 31
Glastar (800) 423-5635 www.glastar.com 27
Gryphon Corporation (818) 890-7770 www.gryphoncorp.com 29
H. L. Worden Co. (800) 541-1103 www.WordenSystem.com 13
Hakko USA www.HakkoUSA.com5
Handy Hanger www.HandyHanger.net 53
Inland (248) 583-7150 www.inlandcraft.com 13
Jubilee Creative (877) 845-6300 www.jubileecreative.com 70
KWC, LLC Table Foilers (800) 250-1790 Lamp Base Specialties (708) 361-1199 www.lampbasespecialties.com 8
71
Master Artisan Products (250) 382-9554 www.masterartisanproducts.com 19
McMow Art Glass, Inc. (561) 585-9011 www.mcmow.com 67
Morton Glass Works (800) 635-2113 www.mortonglass.com
31
Olympic Kilns (800) 241-4400 www.greatkilns.com 29
Paned Expressions Studios (410) 676-1248 www.panedexpressions.com 67/70
Paragon Industries (800) 876-4328 www.paragonweb.com
19
Paul Wissmach Glass Co., Inc. (304) 337-2253 www.wissmachglass.com 80
Premium Glass Products, Inc. (800) 752-3501 www.premiumglass.net Skutt Kilns (503) 774-6000 www.skutt.com 21
2
Spectrum Glass Company (425) 483-6699 www.spectrumglass.com 49
Sunshine Glassworks, Ltd. (800) 828-7159 www.sunshineglass.com
21
Timeless Tiffany Inc. (410) 287-3900 www.stainedglasssuppliesonsale.com21
Unique Glass Colors (407) 261-0900 www.uniqueglasscolors.com
78
20
Vinery, The (608) 271-2490 www.vineryglass.com 53
Whittemore-Durgin (800) 262-1790 www.whittemoredurgin.com
68
79

Stained Glass - Glass Patterns Quarterly

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