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August 2008 |
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Random Ads - Miscellaneous
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Eclipse Blower with 2hp Baldor motor
masch1230
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various types of jewellery findings for sale
CICI
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Glass Line Magazine: V19n2
Jim
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Glass Line Magazine: V19n6
Jim
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many kinds of beads for sale (fimo beads, acrylic beads, tibetan silver beads, swarovski, resin beads, etc)
CICI
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Glass Line Magazine: v20n6
Jim
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Glass Line Magazine: v20n6
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Date Posted
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1
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6316
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Tue May 22, 2007
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Asking Price
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Condition
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$10.00
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Excellent
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Description:
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In This Issue
John Kobuki - An Interview by Mark Lammi – I chose to feature John Kobuki for this interview for a number of reasons. Kobuki is an extremely talented glass artist who is among the finest marble makers in the country. His work shows a seemingly unreal attention to detail and a sense of precision that is rarely matched. Kobuki is a great example of an artist who found what he liked and stuck with it. Many of the best known glass artists seemed to have learned along the way that there is a lot to be said about remaining true to their style and specializing; it certainly worked for Kobuki!...
The Ethereal Wonders of Wispy Veiled Cane - by Starleen Colon – Veiled cane is truly one of the most beautiful examples of 96-COE hand-pulled cane made. Every stroke of the glass rod yields phantom-like wisps of vibrant color. Using the material truly feels like poetry in motion. It is a time for me to break away from tedious floral construction and let the molten glass express itself freely as I seal its own chosen momentum forever in time under crystal clear bliss.
What is veiled cane and how is it made? Veiled cane is not basic extruded glass. It is gathered on large steel punties and pulled under a highly skilled gaffer’s team within a hot shop. The cane construction first starts out as a clear core gather. A layer of color is then applied, followed by a secondary thick encasing of clear. At times, multiple layers of color are applied prior to the final encasing to achieve a specific level of saturation. The variations of color and opacity one could experiment with are infinite...
Solid Rod Reversal - A step by step from Fred Rossi – The designs I wanted in or on my marbles evolved from hollow forms, yet I wanted to make a solid object. Was it necessary to carefully blow out all that design material, just to condense it down solid in the end? Well, from a learning standpoint, yes, it is. But for the uninitiated consumer at a fair, no, I didn’t have to go through all that trouble, just for them to ask me how I painted the inside...
Bridging the Gap Between Art and Science - by Garrett Keisling – During this transition, I began to notice how much scientific glassblowing shaped the way I work and approached everyday problems and tasks in the studio. I found that I kept an extreme focus on precision and execution of technique and understanding when something does or does not work out and why. I also found it is a great resource to truly understand the science behind glass.
In this article, I will show some of the tools and techniques graciously passed on to me through scientific glass and I will discuss how we can use scientific or technical approaches every day in our studios and processes to help us think outside the box and expand the way we work with glass...
Boogie Down Beads: Relief Style Glass Sculpting - by Sheila Morley – When we apply the techniques learned in other artistic fields to glass, amazing things can happen. Glass can be melted like wax, applied like paint, drawn, centered and sculpted like clay, even welded like metal when under the torch. Even when glass is cold, it can be sanded like plaster or stone. Not only is molten glass as beautiful as a pot of molten bronze, it is as colorful as a ceramic glaze when it is done. It is the most versatile material I have ever stumbled upon. You can learn to control the reactions of the glass right in front of your eyes. Because ceramic glazes are made up of the same materials as glass, it absolutely amazes me that I get to hold glaze in my fingers and create art with it, without needing the clay...
Following your Passion - by David Licata – During a group exhibition later that year, Glenn asked me to hang some of my more abstracted trees throughout the skylights. When I showed up on the opening night, I was blown away by fiber artist Debora Muhl’s creations. Her deconstruction of the basket next to my abstract tree forms gave me an idea. I asked Muhl if she’d be interested in collaborating with me on one or two sculptures. Honestly, I was just trying to trade for one of her sculptures. I had no idea that after 18 months of collaborating...
Dragon Tutorial - by Steve Selchow – The challenge of an intricate piece is knowing where to begin and where to end. This is especially true when using striking and silver saturated colors such as the amber purple family and the blues. I try to design a piece so that I do not have to go back over where I’ve already been, which keeps an even heat base throughout the piece, meaning it will keep the same shade of color evenly. Only I can change it where I want to by selectively reducing it for the effect I want to achieve, much like Suellen Fowler does on her magnificent bottles...
Let’s Talk About Pricing Part II - by Milon Townsend – In the first article in this series, we looked at some of the over-arching concerns that provide a backdrop to the choices and directions we have to make about the type of work we want to create and possible effects of those choices in the marketplace. Following are some specific issues that we need to look at in depth in order to have a good understanding of what we’re doing and, therefore, how we will want to proceed. Context is everything—no matter what any of our friends tells us, we need to maintain our commitment to our own set of goals and objectives. Our pricing will necessarily reflect those parameters...
Emerging From Sand - by JDC Roman – There seems to be an electrical field of energy within the art community. This is what I like to call the “pool of collectives.” There are many mediums that are fusing together to create pieces of art that have never been seen before, at an almost exponential rate. What an exiting time to be involved in flame working! Every new idea leaves room for what has not been done. One idea leads to another and on and on. We have opportunities that no others in history have had. The vast knowledge of the past and the massive fusion of technologies are all here for us to utilize. It is up to us to move in the direction that we want to take it...
Layered Petal Paperweight - by Joe and Donna Bray – Our introduction into the glass world was unexpected. Not long after we met in 2003, we bought two pendants at a music festival in Tennessee. All the way home, we would pull out these pendants and wonder how they were made, talk about them and put them away—only to pull them out again and wonder about them. By the time we got home, Joe and I both were saying, “This is something we want to learn.”...
lectroforming on Glass: Silverplated Caged Bicone - by Janelle Zorko – To begin, I created a long bicone bead out of Italian glass. I will create a “cage” of jeweler’s wax wire on the bead and then copper electroform it. I’ll take this bead one step further and will silverplate it in a process that is similar to electroforming...
Glass Entomology - by Michael Mangiafico – It all starts with a humble idea, a mere twist of the hand or a new outlook. An already acquired daily routine or technique is then transformed. The beads I was creating at the time began to grow tendrils. I figured I needed to work faster and with more precision. It was a trick to make a hollow bead grow 12 legs and also to keep it warm. I was using beads as my sketchpad so to speak. In doing so, I had inadvertently found my voice in the world of beadmakers. Still, I could not build an insect out of glass. It was a little conversation I had with another torch artist that gave me the key to my success. She said that the Italians constructed from one end to the next and never went back...
Moon Over the Ocean - by Anna Duhame – I became very interested in creating detailed seascapes, figuring out how to make a realistic ocean and perfect sandy shore. I experimented until I created a look that I loved and then I started to work on landscapes. I wanted to create landscapes that made you think you could walk across a field of wildflowers and climb a craggy mountain, but I wanted to embellish these scenes to make them even more alive. Recently, I began incorporating raised relief animals into the “scene” to create a more three-dimensional appearance. I am very excited with the results so far!
The Moon Over the Ocean bead is very a pleasing bead to make. It is easy enough for a beginner, yet also a lot of fun for a more advanced lamp worker. Lately, I have been using these as a base for my animal beads, but they look fabulous on their own as well...
Beginner’s Guide to Setting Up A Basic Beadmaking Studio - by Ania Kyte – I have been using a very basic set-up to create my beads: a Hot Head torch, a tank of propane gas, a kiln and beautiful glass rods. Over time, I have continued to promote this set-up for all of my beginner students. I firmly believe that basic tools, lots of practice and good techniques are enough to start creating beautiful beads. I receive many requests for information about getting started with beadmaking and I thought it would be a great idea to pull it all together into a comprehensive outline of the supplies, equipment and tools required to set up a basic beginner beadmaking studio ...
Dichroic Reversal Vessel - by Andrew Moch – The greatest challenge of working with dichroic-coated glass is preventing the coating from burning. Both beginners and professionals worry about how much heat is going into the glass, what their atmosphere is and how to cover the coated side without trapping any air. A new product by Austin Thin Films is designed to solve these problems...
Enameled Stringer Tutorial - by Kerry S. Caron – Designing, building and teaching stained glass for more than 20 years brought me right into the arms of lampworking. Here, I have found an ancient art medium to express myself. I find torching to be limitless; my brain is overloaded with ideas. My sketch books are once again full and my artist’s soul is at peace...
Flowing Glass And Glowing Gas - by Tony Greer – The purpose of this article is to suggest a possible new direction in glass art for people already involved in hot glass. If you’ve ever wondered what it would take to add a neon shop or a plasma lab to your glassblowing studio, I hope to answer a few questions and stir up some interest in this amazing form of light sculpture
Buyer pays shipping cost: $1.00.
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Glass Line Magazine: v20n6
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For Sale By
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Administrator
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Posts: 307
Registered: October 2005
Location: Anaheim, CA
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