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Summer 2010 **Print**

Summer 2010 **Print**
Brand: Glass Patterns Quarterly Magazine
Product Code: 0100GPQSU10Print
Availability: In Stock
Price: $7.00
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Letter from the Editor
by Maureen James
Making use of the new social networking sites to find potential glass art buyers. Learning how to access and use Facebook and Twitter and investing in a good-quality digital camera for posting photos of glass art opens up a whole new world of clients to artists.

How to Make a Beginner Panel
Design by Diana Dahlberg
A 6" x 8" stained glass geometric panel created with simple, straight lines. Jim Berry explains the techniques used to build this beginner panel including pointers for drawing the pattern, selection of the appropriate size for the project, tips for the proper application of copper foil to the glass, and steps for finishing the panel. This project was constructed using the copper foil technique.

Henna Tattoo–Inspired Garden Art
Design by Linda Osgood Dano
A 13-3/4" x 8-3/4" contemporary floral glass mosaic. This garden piece, which was inspired by henna tattoo designs, features a large central floral figure that is surrounded by a geometric design made of glass tesserae that are scored and cut from flat glass. Techniques are covered for transferring the design to the substrate, cutting and nipping and glass tesserae, placing the tiles properly, and finishing the mosaic.

Ray of Sunshine
Design by Leslie Gibbs
An 8-3/4" x 11-1/2" stained glass panel featuring a Japanese Kokeshi doll. This project is the second in a series by Leslie Gibbs that began in the Spring 2010 issue of Glass Patterns Quarterly. The grass sections in the background of the design are created from glass pieces that have flower petals and centers that have been glued and fused to the green glass. Hobby enamel is used to transfer the facial details to the glass. This project was constructed using the copper foil technique.

Sea Grass

Design by Diann Reina
A 9-3/4" x 17-3/4" fused panel framed in ladder chain, bevels, and sculpted lead pieces. The central feature is a glass panel created by carving a design into Kaiser Lee Board and fusing the clear iridescent glass to take on the sea grass–inspired design. The border of the glass is finished by adding ladder chain, lead-wrapped bevels, and decorative lead curlicues.

How to Get Started in Etching Glass—Resists and the Three Basic Blasting Techniques
Designs by Randolph Raum
An introduction to the basics of etching glass. Various types of designs and resists are presented including black-and-white line art and stencils, and the three main techniques for etching glass—surface etching, carving, and shading—are discussed. Examples of the type of artwork required for each of the three techniques are pictured.

Victorian Geometrics—Enhancing Stained Glass Panels with Bevel Clusters
Design by Randolph Raum
A set of Victorian beveled panels. Two different geometric designs illustrate how center and corner bevel clusters can be used to add extra interest and sparkle to flat stained glass panels. The center quatrefoil designs can also be taken apart and used to create interesting corner accents. This project was constructed using the copper foil technique.

Design by Leslie Gibbs
An 8-1/2" x 11-1/4" stained glass floral panel. Careful selection of glass colors and grain direction, especially for the greenery, makes the design come to life and gives the whole panel a three-dimensional feel. This project was constructed using the copper foil technique.

Narrow Bamboo Plate

Design by Dion? Roberts
A 6-1/2" x 12" panel that is fused multiple times and then slumped for a three-dimensional effect. Accents for the leaves are added through the use of lead-free enamels, and glass stringers are broken and used to create a design on the bottom red design strip.

Design by Karen Stephenson
A 10-1/2" x 16-1/2" stained glass panel. Realism can be added to this predominantly green design by looking for subtle variations in the various green glasses used. This will give the panel more depth as well. The greens can be successfully offset by using warm, complementary streaky or mottled colors for the borders and background. This project was constructed using the copper foil technique.

Spiral Pattern Sushi Plate

Design by Carol Giffin
A 5-3/8" x 5-3/8" fused and slumped sushi plate. The spiral design is created by layering several colors of glass clay, rolling them together like a jellyroll, then making thin slices of the spiral roll and placing them throughout the piece before fusing and slumping the plate.

Tree of Life Fused Glass Pendants
Design by Tanya Veit
An oval fused pendant decorated with enamel decals and glass paints. The base of the pendant is created by full-fusing the design background and then decorating the base using subtle shades of dichroic glass and full-fusing the piece again. Paints, paint markers, and enamel waterslide decals are used to finish the design.

Layered Circles Tabletop

Design by Brenda Griffith
A 16-3/4" x 16-3/4" fused tabletop decorated with opal glass circles and stringer pieces. This design emphasizes the depth of the glass by placing a different color of circles on each of four different layers of clear glass. The stringer pieces are placed randomly across the top of each square.

The Kiln Corner—Setting Up a Kiln
by Arnold Howard
Questions and answers regarding proper techniques and safety tips for setting up a kiln. Requirements for special ventilation, the effect of room temperature on a stored kiln, potential hazards in storing a kiln with exposure to outside elements, and specific recommendations for setting up a kiln in a school setting are covered.

Fused Cuff Bracelet
Design by Dinah Ihle
Fused glass bracelet blanks that are bent using stainless steel bracelet molds. The designs are created by using transparent and opaque glasses for the base and compatible dichroic glass for the color accents.

Calla Tussie-Mussie
Design by Karen Stephenson
A 4" x 12" free-form stained glass panel featuring a floral bouquet. This glass representation of floral message bouquets that have been given to people over the centuries features calla lilies as its focal point. The panel is finished with a holder for the top of the vase that is made from copper wire. This project was constructed using the copper foil technique.

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