April/May, 2011 - Vol. 24, No. 6.

February/March, 2011 - Vol. 24, No. 5.

December/January, 2010/11 - Vol. 24, No. 4.

October/November, 2010 - Vol. 24, No. 3.

(This issue will be available online after the printed copes are sold.) <Click Here> To start your subscription. Partial lineup for the coming issue: Article in progress  -  Please check later for update on this article. ... --------- -  --------- -  Article in progress  - ... Article in progress  - ... Article in progress  - ... Glassified Ads - October/November, 2010 - Vol. 24 No. 3. Workshop Calendar

August/September, 2010 - Vol. 24, No. 2.

(This issue will be available online after the printed copes are sold.) <Click Here> To start your subscription. In This Issue A “Pointless” Goblet   -   by Danny L. Sullivan   –   I will share some of the tips and techniques that I have acquired for creating a goblet stem and then combining it with a premade bowl and foot to create a unique goblet ... Standards of Quality:   Essential features of great lampwork beads! -   by Ania Kyte   –   As a beadmaker, I am critical about inspecting my beads to make sure they have the best qualities before they go out into the world; as a bead collector, I am careful about selecting beads on which I’m willing to consider spending my hard-earned money. This article outlines some of the criteria that I use for deciding on the essential features of an artglass bead. I hope these standards of quality will guide both beadmakers and collectors in making their bead-related decisions ... Sculpting with 33 COE  (Octopus sculpture tutorial) -   by Matt Entenmann   –   After about a year, experimentation turned into my job and I have never looked back. Borosilicate is a great medium for sculpting. The ability to support the molten glass from both sides offers a lot of control. In addition, low-coefficient of expansion (COE) glass is resistant to cracking as long as you keep your working time relatively short and let it anneal properly when parked in the kiln. ... The Heat Sun Focal Tutorial   (Soft glass bead tutorial) -   by Karen Leonardo   –   My Heat Sun Lentil has a beautiful bright glow in striking red, yellow, and orange, with organic movements of earth or sand caused by reaction to its foiled goldstone stringer. The gold or red dichroic adds a bit of sparkle and bling and creates the sense of a little blast of heat ... A Mind in Flight: An Appreciation for Shane Fero   -   by Paul Stankard   –   I knew of Shane Fero’s work for awhile, but first met him in 1991 at the Corning Museum of Glass (Corning, N.Y.), while attending a Glass Art Society (GAS) conference. Shane was standing at the display of ancient glass and his name tag gave him away. When I introduced myself, it was evident we both respected each other’s work – the conversation opener was about how variations on today’s flameworking techniques can be found in a few fragments from the earliest examples of glass-making. I became deeply impressed with Shane’s historical knowledge of glass and his special interest in early lampworking history ... Squished Frog Shots   -   by James Mills   –   A few years ago, a coworker of mine had bought a few shot glasses I made with little frogs stuck to the sides. She liked them so much that she asked if I could make her a couple more for her brother as a Christmas gift, so I told her I would love to make them for her. Well, days turned to weeks; it was getting closer and closer to Christmas; and I still had not even started on them. In the meantime, she had been bugging me about them every day for weeks. One day, I finally said. “You know what, I’m going to take that dang frog and squish him under the shot glass. His head is going to be sticking out from the bottom and his legs will be holding onto the sides of the glass, and there will be blood and guts all over the bottom.” Her reply: “I like it, my brother will love that.” Off I went to create my very first squished frog shots. Here’s how they work. ... A Brief History of Glass and Flame One   -   by Christian Luginger   –   Here at Flame One, over the last eight years, we have been continually pushing the limits to be innovative and creative to keep up with new ideas and mainstream art projects around the globe. When I first saw Dale Chihuly on PBS 10 years ago, I would have never imagined the exciting journeys my glass career would take me on … meeting so many people, going so many places, and, yet, so many more years ahead to go. As I learned about the different types of glass-making throughout history, something stood out to me about the past 500 years about Venetian and Renaissance blown glass, which includes chandeliers, goblets, épergnes, jewelry, and paperweights. Somehow, I have a connection with these forms and shapes and, through independent study, I’ve spent years making these types of pieces to enjoy for myself and to share with others. During the next year and upcoming years, I will be focusing on a mix of classic and contemporary styles of art and ways to bring them back to be enjoyed in public viewings and private collections. This is some of the research that I’ve put together for a brief history lesson of tableware and the blown-glass épergne. I hope you enjoy my findings ... Finding your niche market   -   by Phillip LeJeune   –   My father, John Paul LeJeune, always preached about the quality and flow in many of his designs and, more importantly, veering from the mainstream to create art that is different and unique. I took that to heart, learning to take my life’s experiences and translating them into glass sculpture. Some of my work comes from the experiences of others. For instance, I was approached by a young Marine friend about creating the Marine emblem – the Eagle, Globe, and Anchor (image 1) in glass. As happens often, my first attempt was pretty pathetic compared to how it turned out today. On a trip to Camp LeJeune (I found out that General LeJeune did indeed come from the same geographical area of Belgium as my family, but can’t make the connection … yet), the piece caught the eye of the newly appointed commandant of the Marine Corps and I ended up providing this item to the Pentagon as gifts to important individuals (image 2) ... Journeying from Craft to Art   (Part 1 of 2) -   by Rob Morrison   –   The past two years of flameworking have been a whirlwind of information, technical experience, and artistic growth. If you have been following my articles, you know that my focus in flameworking has shifted from marbles to sculpture. I have tried to grow from a craft person to an aspiring artist. Over the course of my first 18 months back on the torch, I took classes with Sabina Boehm, John Kobuki, Josh Sable, and Suellen Fowler (twice), as well as spending two months working for Kaj Beck. During that period, I amassed a lot of technical experience; I was searching for that one technique that I could market. A very common mindset for craft people ... Glassified Ads - August/September, 2010 - Vol. 24, No. 2. Workshop Calendar

June/July, 2010 - Vol. 24, No. 1.

(This issue will be available online after the printed copes are sold.) <Click Here> To start your subscription. In This Issue Golden Blossom   -   by Stan Skipper   –   This tutorial will show you how to make a marble consisting of an implosion flower on clear tubing ... A Reading List   -   by Paul Stankard   –   This short reading list blends philosophical attitudes about art-making; the technical challenges involved in art-making; and the goals, egos, and lives of individual artists throughout history, but it is by no means complete or universal. These are simply books that were recommended to me throughout my professional life by people whom I respect. Each of these works helped me grow with artistic maturity and reinforced the idea that reading about artists, art-making, and the creative process will benefit other creative people’s careers ... Goblet Shape Fundamentals   -   by Eric Goldschmidt   –   When I teach a goblet class, I find it important for the students to understand the concept of solving their own problems for any shapes they may wish to make in their future endeavors. If I can get some fundamental theories on how to create different shapes across to them, they should be successful in their work when they get back home. Working in a sequence that is consistent, with some constant primary thoughts behind the process, can take a lot of the guesswork out of the process ... Soulful Consideration   -   by Wesley Fleming   –   Every now and then, most of us reach a plateau with our art that can be tough to break through. I recently came out of such a slump, and several friends have expressed similar frustrations. As I gained insight into what was blocking me, I discovered a new sense of meaning for the actual function of my work, and my purpose as an artist. My slump was triggered by seemingly contradictory motivations of creating art and making money. I can get too locked into a production mode, feeling the need to produce to fill orders and pay the bills. Unfortunately, this isn’t very motivating or inspiring, and I become like a hamster in a wheel—going in circles, not actually able to focus or get much done, despite a feeling of expending a lot of energy ... Dolphins Playing   -   by William “Crystal Bill” McNerney   –   For this tutorial, imagine a pair of dolphins (one adult and one juvenile) leaping out of water to play with a beach ball. The beach ball will be a hollow glass sphere, the dolphins will be solid with blue highlights. and the water is represented by crocheted glass. Some of this idea came from a wonderful illustrated book entitled Flameworking, by Matsumura Kiyoshi. ... Nebula wine stopper   -   by Dan Mattheisen   –   This demonstration shows how to create an elegant, dishwasher-safe, silver-imploded Nebula stopper that will last for years to come. ... “Nuclear Sea Anemone” Marble   -   by Bashi Alé   –   Recently, I was fortunate to purchase a small amount of Uranium glass from the legendary Lewis C. Wilson (www.crystalmyths.com). I immediately set out to make marbles with this new material. The first design that came to mind was this air-trap implosion (Sea Anemone) style marble. ... Tombodama Techniques   (AKIKO SHINODA) (Japanese Beads) -   by Takayuki Matsuzawa   –   Almost all the techniques Akiko uses were self-taught. Her style which she calls “Akiko style” is very personal and gives her beads a warm feeling. ... Improvisation in borosilicate glass   -   by Mark Eliott   –   You must have a plan! As glass artists, most of us have heard this very early on—but is it true? We collect recipes from our teachers, books, YouTube, or wherever—and with good reason. If you have a specific object you want to make, be it part of a “production run” or a “one-off” piece of art, things are going to go more smoothly if you know in advance the sequence of procedures you will use and only vary it occasionally. As a fellow student of this wonderful art/craft, however, I would like to put this question to you: How often have you picked up a rod or tube, put it in the fire, and gone on an unplanned journey—like a kid handling a new toy for the first time—with no idea of where you’re going; “flying by the seat of your pants”? ... International Flameworking Conference   celebrates 10th anniversary -   by Tracy Wiggins   –   A reunion of previous featured masters and honors for Paul J. Stankard were highlights of the Salem Community College (SCC) 10th International Flameworking Conference (IFC). More than 400 glass enthusiasts from across the country and around the world gathered from March 19–21 at the Paul J. Stankard Studio & Lab in Alloway, NJ, to celebrate excellence in glass art. Noted glass artist and author Stankard is the founder and chair of the conference. ... Glassified Ads - June/July, 2010 - Vol. 24, No. 1. Workshop Calendar

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