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Copyright, All Rights Reserved. All content on this site is copyrighted, Dana Worley, as of the date of posting. Reuse or redistribution of this content is strictly prohibited without express written permission of the author.

Wednesday, April 18, 2018

Celebrating Spring

Yellow, blue and green fused glass vase
Finished daffodil vase, 8.5" tall


When the snow begins to melt and robins begin to chirp, thoughts turn to spring. It's a sure sign that winter is on its way out and the spring daffodils and tulips will soon be bobbing in the breeze. To celebrate the return of spring (and to prepare for an upcoming show), I wanted to create a draped vase in the season's colors. In this post, I thought I would share information about how the vase was created. 




Materials

System 96 Glass
  • Yellow opal
  • Lagoon Opal Art
  • Sky blue transparent
  • Clear
Slumpy's Trumpeter stainless drape mold
Papyros shelf paper

Pattern Design

The first step was to create a pattern. I wanted to represent a garden design. I picked out the Lagoon Opal Art glass for the leaves of my design, to take advantage of the nice flow in the glass pattern. This glass has green, yellow, white, and some sky blue colors, so it set the palette for my design.

Trumpeter vase former
Trumpeter vase from Slumpy's


The trumpeter drape mold has a 3" bottom and is 8.5" tall. I cut a 17" clear circle to use as my base glass. This gave me 3" for the bottom of the vase and the remaining 7" on each side would allow for the glass to stretch when draped.  





A quarter of the design
Fold the paper in quarters to
draw part of the design, then
trace the remaining sections
using a light box.


For the pattern, I drew a 17" circle on white butcher paper, and then drew an 11" circle within it. This second circle was for reference as I designed my pattern. I then began to draw my design. I wanted the design to be symmetrical, so I folded my paper in quarters, and drew one quarter of the design. Using a light box, I traced my lines to the other three quarters. 








The full fused glass pattern
The full pattern, with colors
roughly sketched in.

To get a rough idea of colors, I used some markers to color the sections, and I began cutting glass. 

Note that I cut only the glass elements that you see colored in at the right. To fill in the clear border, I used my frit maker to crush clear and yellow glass to a coarse grade. I mixed the two frits together and used them to fill in the clear areas (to the edges) of the vase.

I often use CMC as glue. For this piece, I used a small paint brush to apply the CMC around the edges of the 17" circle before applying the frit. This helps keep the frit in place, up to the very edges of the glass.


The piece was fired using an appropriate schedule for the size and layup of the piece:


Seg
Rate
Target
Hold
1
200
1100
30
2
50
1250
60
3
300
1460
15
4
AFAP
950
120
5
100
700
00

Note the slow advance and long hold for a bubble squeeze in segment 2.

For the drape firing, I sprayed the vase former with ZYP boron nitride (BN), and placed a 3" circle of Papyros paper on the top (base) of the vase. Occasionally, I have seen hazing from BN spray on the bottoms of vases. The Papyros helps prevent that. I placed the vase on kiln dams in the kiln to elevate it, and placed the glass blank on top. I centered the blank carefully to help ensure a uniform drape. The vase was fired using the following schedule:

Seg
Rate
Target
Hold
1
100
1100
60
2
100
1225
*
3
AFAP
950
240
4
100
700
00
*Observe

Note two things about the schedule. First, with all of my firings, I include a long hold (30 to 60 minutes) at 1100 deg F. This accomplishes a few things. First, it allows the glass to equalize in temperature. For drapes and slumps, I also think this gets the glass "moving in the right direction" very slowly and evenly. With many pieces, the glass is close to being fully slumped after a 30 minute hold. For this piece, I continued up to 1225 for the final drape and observed carefully, skipping to the annealing segment when the drape was complete. I haven't provided a time for this hold because all kilns are different, and because I encourage you to look in your kiln (with proper eye protection) and observe how the glass is moving during the firing.

The Finished Vase

View from the top of the vase
The vase draped almost perfectly
symmetrical. 
My husband often gets frustrated with me when I show him a new piece from the kiln and then proceed to tell him all the things wrong with it (as the cliche' goes, we are our worst critic). The kiln was finally cool enough to open right before bedtime. After checking on the vase, I came upstairs and said, "You know that vase?" 

"Yeah, oh no, what?" he asked. 

"It's perfect."

(I think he almost fell over.)



Side view of vase
The design elements are evently
spaced around the vase. 



As you can see from the two photos on the left, the drape was very symmetrical, with four beautiful folds spaced evenly around the rim, and the design elements spaced evenly along the sides.








There are several reasons that led to the success of the drape. I won't go into those here, but if you are curious or want to learn more about draping, I recommend you check out Paul Tarlow's great ebook, "Creative Fused Glass Draping". The book includes 80 pages of how glass behaves in the kiln during a drape, ways to control the folds of a drape, and several project ideas. See the Resources section below for a link to the ebook site.

This piece will be heading to The Pioneer Theatre's Loge Gallery in May, for the Glass Art Guild of Utah's spring show and sale. Until then, I'm enjoying a little glimpse of spring as the vase sits on my dining room table!

Happy spring, 
Dana

Resources

Paul Tarlow, Fused Glass ebooks: http://fusedglassbooks.com/
Slumpy's Molds, https://www.slumpys.com/
I buy all my supplies (glass, molds, Papyros, etc.) from D&L Art Glass https://www.dlartglass.com/
Glass Art Guild of Utah, http://www.glassartguild.org/

For more information about fusing, click the banner below and check out Bullseye Glass's educational video series!
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Sunday, February 25, 2018

Using Fiber Paper to Modify a Fused Glass Mold

Black and white fused glass butter dish
Black and white fused glass butter dish
I was recently asked to create a fused glass butter dish based on the design of a cheese platter I had made. When I designed the butter dish I decided to make it 4.25" x 7", which was one of the standard sizes I found when looking on-line at commercial dishes. While this may be a common size for a butter dish, it's not necessarily a common size for a fused glass mold. I did have a small sushi mold that was 5 x 7.75".

There's quite often no problem slumping into a mold larger than your piece of glass. However, I did have concerns about having the edge of the dish raised sufficiently so that the butter would not spill over the side of the dish if the butter melted. To get a better raised edge, I modified the mold with fiber paper. The short tutorial below shows how it was done.

Tutorial

Mold and glass piece to be slumped
Mold and glass piece to be slumped

At left you can see the fused glass mold that I used, along with the piece of glass to be slumped.







Side profile of mold
Side profile of mold


This shows a side profile of the mold. The raised edge would be fine if the glass were cut full-size. However, because the glass was smaller than the mold, I was concerned it would not be raised enough to keep melted butter from spilling over. 





Use a sharp blade the cut the fiber paper
Use a sharp blade the cut
the fiber paper

I used a sharp blade to cut a piece of 1/4" thick fiber paper to the size of the glass. I laid the glass and fiber paper on my cutting mat (long ago stolen from my sewing supplies!) and used the glass itself as a guide for cutting the fiber paper.

Tip: For a sharp blade, you can use an Exacto knife or small box cutter.




The glass and the fiber paper rim that will be placed on the mold
The glass and the fiber paper rim
that will be placed on the mold

After cutting the outside edge, I marked a 1/4" inside my fiber paper rectangle and cut it out with the blade.

Tip: Try to cut the inside border using one continuous cut, and avoid raising the blade from the fiber paper. This will result in the smoothest inside edge. 




Fiber paper rim placed on mold
Fiber paper rim placed on mold


This picture shows the rim of fiber paper that was cut, placed on the mold. 







Ready for firing
Ready for firing


The glass is placed on the fiber paper, and into the kiln it goes for the slump.  







Back of slumped glass
Back of slumped glass


Here is the back of the finished piece, which shows the raised edge of the dish. 






Profile of slumped glass
Profile of slumped glass

And finally, here is the profile of the slumped butter dish.





I hope this quick tutorial sparks ideas about how you might modify your favorite fused glass mold to create a new and interesting shape. If you have questions, leave a comment below!

Best, Dana

Want to learn more about fused glass? 

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Sunday, February 18, 2018

Fused Glass Painting Class with Shelley Long

Finished fused glass Winter Rivers Scene
Finished fused glass Winter Rivers Scene
As part of its educational program, the Glass Art Guild of Utah hosts classes a few times each year. In late January, the Guild brought in ceramic and glass artist Shelley Long for a three-day multi-layer glass painting class. The class was hosted in the home studio of Guild artist Kathy Watt, and I was lucky enough to be able to attend.

I have worked with glass paints, but my results have been mixed. I was looking forward to learning how to better use the paints, and also learning more about creating thicker, layered glasswork. The class with Shelley provided all this and more!

Shelley works exclusively with Colors for Earth glass paints. These powdered enamels are mixed with a medium to get the desired painting consistency. We jumped right in the first hour mixing paints, while Shelley talked about various painting techniques to ensure good coverage of paints, shading, and watercolor washes. Over the course of three days we painted six different pieces of glass to create Shelley's Winter Rivers Scene design. The last day Shelley discussed breaking down a photograph of our own for a layered design, as well as damming and firing the final piece.

Shelley and her amazing three-dimensional glass paintings
Shelley and her amazing
three-dimensional glass paintings
The class was a great, long-weekend glass get-away, filled with good food, good conversation, laughter, handmade chocolates (thanks, Mary Young!), and of course fused glass and new painting techniques.

If you have the opportunity to take a class with Shelley, I very much recommend it. While "live" classes are invaluable, if taking a class with Shelley isn't an option, check out the list of Resources below. Shelley offers several glass painting tutorials on her web site, including the Winter Rivers scene that was the subject of the class (check out the video below for a sneak peek!)

Thank you, Shelley and the Glass Art Guild of Utah for a great learning opportunity!

Dana


Resources

Shelley Long, Winter Rivers tutorial
Bullseye Glass, Working Deep tip sheet
Glass Art Guild of Utah, http://www.glassartguild.org/
Colors for Earth glass enamels, http://colorsforearth.com/product-category/glass-enamels/

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Painting tools of the trade!
Painting tools of the trade!

Guild member Andrea Tatkon-Coker works on her sky
Guild member Andrea Tatkon-Coker
works on her sky

Shelley and Guild member Julianne Tronier
Shelley and Guild member Julianne Tronier

Having too much fun!
Connie Lundberg, Barb Wesley, Mary Young and Kaleen Knight
(clockwise from the top left)