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Winter 2009 **CD**

Winter 2009 **CD**
Brand: Glass Patterns Quarterly Magazine
Product Code: 0200GPQWI09CD
Availability: In Stock
Price: $6.00
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gpqwinter2009

Features

CD Version (non-refundable unless defective)

Letter from the Editor
by Maureen James
Reflections of how Glass Patterns Quarterly has grown over the past twenty-five years. Opportunities for readers to participate in the magazine’s direction and development are now available through GPQ’s Facebook and Twitter pages.

Wisteria Lamp
Design by Gale Obler
An 18" Tiffany reproduction Wisteria lampshade. The Odyssey Lamp System Wisteria pattern and mold are used to create the lampshade, which is made from the stained glass of several different glass companies plus scrap glass collected by the artist. Tips are offered for making the best use of the glass, the best ways to use the mold, and fitting the branch pieces and cap to the lampshade. This project was constructed using the copper foil technique.

Art Strips—A Strip Here, a Strip There
by Lynne Rae Eaton
Suggestions for incorporating glass strips and found objects as finishing touches to glass art projects. Ways to incorporate strips of glass, glass dots and buttons, and wire into designs are offered along with a firing schedule for the dots and buttons. Methods for hanging the finished projects are also included.

Shades of Blue—Free-Form Mosaic Leading
Design by Susan Nachtrab
Instructions for creating a free-form open leaded panel with zinc came plus bevels, nuggets, and jewels. A free-form skeleton for holding the glass pieces is created using various forms of zinc came. Galvanized wire is used to fill in spaces and enhance the overall design. The glass pieces, jewels, and nuggets are wrapped in copper foil and soldered into the design.

Embossed Bubbles—Embossing Made Easy
Design by Lisa Vogt
A 7" x 14" fused and slumped dish embossed with shapes cut from fiber blanket. Shapes are cut from fiber paper and the glass is fused on top of fiber blanket to give the glass edge an organic, glass-in-motion appearance. The glass piece is then slumped in the kiln. Firing schedules for embossing and slumping are provided.

Traditional Geometric Mosaic Tray
Design by Lisa Osgood Dano
A 13 1/2" x 8 3/4" mosaic pattern set on a purchased wood tray. The contemporary geometric design is created using rectangular tiles cut from strips of Van Gogh glue chip that is covered on the reverse side with black paint. Additional glass is nipped into pieces that fill in the design. The project is finished with grout.

Slide Link Bracelet

Design by Carol Giffin
A set of 3/4"-square decorated-and-fused bracelet slides. The base glass for the slides is created using System 96® Thin Black glass, and decorative touches are added with nipped dichroic glass and noodles. Layers of the black glass and decorative elements are then fused together. A firing schedule is provided along with instructions for stringing the slide pieces.

16-Page Full-Size Pattern Section

Decorating Glass Cabochons with Fine Silver
Design by Tes Shea
A set of rectangular and trapezoid-shaped fused pendants decorated with stringers and Silver Overlay Paste. Tips are offered for designing the decorative elements used on the pendants. The glass pieces are layered and fused, then decorated by painting on the designs with thinned Silver Overlay Paste. Tips for working with the Silver Overlay Paste are included. Firing schedules for fusing the pendants and setting the designs are provided.

The Growing Popularity of Cast and Fused Glass Lighting
Designs by Craig Smith, Jayne Persico, and Martin Gill
Three different techniques for cast and fused lampshades. Tips are given for cannibalizing an existing light fixture, fusing cast elements to create a lampshade, or taking advantage of offers from several glass manufacturers to pair a drape mold with hardware. Using Colour de Verre Oval Hardware Kits is also discussed.

Holiday Time—A Party Platter

Design by Petra Kaiser
A 12" x 12" fused divided platter for appetizers or nuts. The platter is fused and slumped in one firing using a mold made from Kaiser Lee Board. A firing schedule is provided.

Tohono O’Odham Blossom

Design by Holly Stedman
Two 21-1/2"-diameter stained glass panels inspired by the intricate basketry of the Tohono O’Odham Nation. Tips are offered for selecting color schemes and positioning the grain of the glass to take the best advantage of the features of the glass. This project can be completed using the copper foil technique or lead came.

Portrait of a Horse
Design by Lisa Tilson
A 10-1/2" x 15" stained glass panel of a horse head and shoulders. This advanced project can be made somewhat easier by enlarging the pattern to avoid having very small glass pieces. Tips for selecting portions of the glass to better match the grain of the glass are offered. Instructions for making hooks for hanging the panel are also included. This project was constructed using the copper foil technique.

The Kiln Corner—Observing a Kiln During Firing
by Arnold Howard
Questions and answers for troubleshooting the operation of kilns. A description of various sounds made by kilns during operation and their meaning are included as well as maintenance tips for kiln lids.


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