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Summer 2011 **PRINT**

Summer 2011 **PRINT**
Brand: Glass Patterns Quarterly Magazine
Product Code: 0257GPQSU11Print
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Features

Letter from the Editor

by Maureen James

A call to use the summer months as a time to begin new projects in glass. The nice variety of media used in the projects found in the Summer 2011 issue of Glass Patterns Quarterly includes stained glass panels, fused platters and boxes, pendants, glass painting, and tips to help glass artists and hobbyists improve their skills.

Summer 2011 Gallery

Showcasing the Designs of Five Outstanding Glass Artists

A beautiful array of glass art to celebrate all things summer. Everything from fused and slumped glass filament sculptures, Southwestern designs, and a brilliantly colored lamp shade to floral, hummingbird, and dragonfly designs are included in this stunning collection of glass art.

Adding Beauty and Function to Boxes—An Introduction to Stained Glass

Design, Fabrication, and Text by Joanne and Frank Lloyd

Helping beginners add metal chain, hinges, and round or corner feet to stained glass boxes. Special tips and techniques for successfully installing filigree round feet, corner feet, decor, and lifts, plus extra help with ways to properly line up a box top and bottom when installing hinges are included in this comprehensive tutorial.

Lamp Shade Assembly Tips—Flipping a Panel-Lamp Sandwich

Design, Fabrication, and Text by Michael C. Thomas

Tips to make laying out and assembling panel lamps easier by flipping the main body panels. Making a panel-lamp “sandwich” between two boards allows all of the panels in the lamp to be flipped over for easier soldering. This project was constructed using the copper foil technique.

Lighthouse

Design Fabrication and Text by Stephen Crouse and Martha Hanson

A 9" x 9" stained glass panel. This nautical-themed design from the Paned Expressions CD collection features a lighthouse poised next to the sea, ready to guide ships home. It provides a great example of a mirror with a unique theme. The design lines in the water are especially helpful in lending realism to the waves of the water. This project was constructed using the copper foil technique.

Zero Calories

Design and Text by Karen Stephenson

An 8‑1/2" x 8‑1/2" stained glass panel featuring an assortment of cupcakes arranged on a pedestal plate. Careful selection of the glass colors and grain add interest and texture to the cupcake icing, paper wrapping, and the shadows cast on the cake stand by the cupcakes. Glass paint is used to add decorations to the icing tops. The panel includes an interesting border created with Champagne/White/Clear Baroque glass. This project was constructed using the copper foil technique.

Freestanding Fused Business Card Holder

Design, Fabrication, and Text by Stephanie O’Toole

A 4" x 4" x 2" fused and slumped glass business card holder. The small Bend-It Mold from Creative Paradise is used to fuse and slump the background glass into a self-standing form. An additional front piece of clear standard glass, which uses various colors of scrap glass as decorating elements, is also fused and slumped into the main body to provide a place for holding the cards.

Calming Waters

Design, Fabrication, and Text by Vicky Kloppenborg

A 2" x 5" wall hanging created using fused pieces of broken, recycled glass. Small panels of various coordinating colors and textures of glass are created by cutting them from scrap pieces. Some panels are also made by crushing reclaimed glass into coarse frit, which is then fused into one piece. The hanger and decorative elements are created with copper wire, and the panels are joined together using the copper foil technique and copper U-came.

El Abanico

Design by Leslie Gibbs, Text by Darlene Welch

A 10‑1/2" x 13‑1/2" stained glass panel featuring the portrait of a striking Hispanic woman and her beautiful fan. Careful selection of the glass colors, especially the use of a darker color for the depth of the pleats, is responsible for the realistic, delicate appearance of the fan. The woman’s facial details, including the eyes and lips, can be added with glass paint, or they can be created in glass using additional design lines, which are included on the pullout pattern sheet.

Seascape Mural

Design and Fabrication by Alysa Phiel, Text by Alexandra Berger

Creating a full-wall mural with painted background and painted or fused sea life. The background colors of the ocean plus sea vegetation are painted onto the wall after planning the design elements and their spacing. Fish, starfish, and other sea animals are then cut, decorated, and fused before they are glued onto the wall to finish out the design.

Layered Iris Stand

Design, Fabrication, and Text by Margot Clark

A 9‑1/2" round floral painted and fused insert for a metal stand. The design is outlined with Unique Black MUD, and various parts of the design are painted onto three difference sizes of glass circles using Unique Glass Colors. The three circles are then fused together into one piece that fits into the stand. This technique provides more life, depth, and texture to the finished piece.

16-Page Full-Size Pattern Section

Platter and Box—Creating Realistic, Delicate Glass Castings

Design, Fabrication, and Text by Craig Smith

A 9" x 12" fused and slumped flat-glass platter and fused elliptical box. Design elements for use as decorations are first cast by filling Colour de Verre molds with fine frit. The elements are then used to decorate the border of the platter and the top of the box, which is also created using an elliptical box top and bottom mold set. Tips are given that emphasize the importance of retaining the delicate appearance of the cast design elements by using a lower temperature and longer time for the fusing process to better retain the shapes and textures in the design elements used for decoration of the pieces.

Tricks of the Trade—Negative Patterns

by Joseph E. Godek

Tips for tracing pattern pieces onto glass using the interior border of the cut-out shapes. After the pattern parts are traced onto card stock or an index card, the interior of the pattern piece is removed. The cavity created by the removal of the positive tracing is then used to guide the marking pen as it traces the pattern onto the glass, thus making use of a “negative” pattern.

What’s New

by Darlene Welch

Information on the latest in books and patterns plus new glass and tools for hot, warm, and cold glass artists and hobbyists. This is the perfect place to keep up with the innovations that will make working in glass easier and more enjoyable.

Pelican Beach Pendant

Design, Fabrication, and Text by Tanya Veit

A 1" x 2" fused pendant created with frit and glass paint on dichroic-capped glass. A marker pen is used for planning the design on the dichroic piece, and wave lines for the water are etched on with a Dremel tool and enhanced with glass paint. The pendant is then decorated with frit and full-fused in the kiln. Decals from AAE Glass are applied to finish the design.

The Kiln Corner—Starting Out with Your First Kiln

by Arnold Howard

Information on finding success with a new kiln. Tips are offered for getting the most from a digital glass kiln and following safety requirements that include wearing the proper glasses when viewing the interior of the kiln. Glass kiln basics are also presented for those who are just beginning to use a kiln.

Modern Glass Jewelry

Design, Fabrication, and Text by Gail Stouffer

A fused triangular pendant created from strip bar tamped with extra-heavy fine-silver foil. The silver foil is applied along with stringer glass and powdered frit, then fired in a fiber kiln. Lapidary techniques are used to finish the pendant.

Oriental Designs from Paned Expressions Studios

Designs by Stephen Crouse and Martha Hanson, Text by Janet Parker

A 16‑1/2" x 10‑1/2" poppy panel and 11‑1/2" x 18‑1/4" lotus blossom panel created in stained glass. A careful selection of complementary colors and glass grain in these delicate designs adds depth and realism to these panels. This project was constructed using the copper foil technique.

Sea Turtle

Design by Lisa Vogt, Text by Darlene Welch

A 12‑1/2" x 10" stained glass panel of a sea turtle swimming under the waves. The variegated greens in the glasses that were selected for this project help to create a leathery look for the turtle’s head and legs and a realistic hard shell for the turtle’s back. Ocean waves are skillfully depicted through the use of design lines as well as the various shades of blue glass. This project was constructed using the copper foil technique.

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