Spring 2012 **PRINT**
FeaturesLetter from the Editor
Different Roads, One Destination
by Maureen James
There are many different ways to accomplish the same thing, and Glass Patterns Quarterly now offers inspiration and information to its readers in three formats—in print, on CD, and most recently as digital downloads. GPQ uses these formats plus its social media contacts to encourage glass enthusiasts to promote the glass arts.
GPQ Spring 2012 Gallery
Showcasing the Designs of Six Outstanding Artists and Hobbyists
A collection of unique ideas for glass art. Projects include a wide lamp shade, a floral panel, a window with an ecclesiastical theme, contemporary fused art, and an American Indian scene.
Saffron 3-D Sitting Butterfly—An Introduction to Stained Glass
Design, Fabrication, and Text by Lidia K. Anderson
Free-form, freestanding butterfly sculptures with solder bodies and simple-cut glass wings. Sculpey molding material is used to help shape the solder for the body. Four simple cuts of glass are then foiled, overlapped, and attached to the body to create the wings. The butterfly is finished with solder-covered wire antennae. This project was constructed using the copper foil technique.
Transformation in Stained Glass—From Flat to Three-Dimensional Sculpture
Design, Fabrication, and Text by Gioia Boerrigter
A 12" x 9" x 2" freestanding giraffe stature created with plated glass. Dimension is added to the sections of the giraffe’s body by cutting several pieces of glass in each area that are increasingly smaller in size. They are then plated to give a three-dimensional shape to the legs, shoulders, and neck. Clear rubber spacers help to hold the legs in a position that allows the piece to stand by itself. This project was constructed using the copper foil technique.
Design and Fabrication by Alysa Phiel, Text and Photography by Alexandra Berger
A 14" x 20" stained glass garden panel featuring hummingbirds and blooming cacti. The design uses many different colors and textures of flat glass, powder, and frit. Broken grape stringer is sprinkled on the glass along with course frit to add texture and interest to the cactus pads. The design pieces are then cut, foiled, and soldered to form the design. The project requires approximately twenty hours to complete. This project was constructed using the copper foil technique.
Reinforcement—Reclaiming Leaded Panels with New Rebar
Repair Fabrication and Text by Frank Floyd
Photography by Frank and Joanne Floyd
Tips and techniques for reinforcing stained glass leaded panels with rebar. A history of the use of rebar in large stained glass panels and windows points out the various reasons for and the importance of using rebar inforcement. A tutorial for adding traditional rebar reinforcement as well as for hiding rebar in the design lines is included. This project was constructed using flat H-lead and zinc came.
First Rendering by Pricilla Lovotti, Text by Jeffrey Castaline
A 38" x 24 stained glass panel featuring a pair of horses. Careful selection of the glass colors helps to depict the shape and details of the horses’ heads, as well as the texture of the tree trunks and leaves in the background. This design from Aanraku Glass Studios is appropriate even for first-time stained glass artists using Aanraku cutting methods and was constructed using the copper foil technique.
Design by Hiroyuki Kobayashi and Jeffrey Castaline, Text by Jeffrey Castaline
A 20" x 20" stained glass outdoor nature panel depicting a cardinal perching in the branches of a tree. The detail included in the twists and turns of the branches and the intricate feathering on the underside of the bird’s tail bring realism to the panel. This design from Aanraku Glass Studios is appropriate even for first-time stained glass artists using Aanraku cutting methods and was constructed using the copper foil technique.
Lamp Designs—Dragging an Ancient Art Form into the 21st Century
Design, Fabrication, and Text by John Emery
A 16"-diameter cone-shaped floral lamp shade featuring iris blooms. This tutorial shares techniques for developing original designs by drawing cartoons on manila folders, then cutting and placing design pieces on the desired shade mold with the help of Tacky Wax. Background glass pieces fill in the remainder of the design before foiling and soldering the lamp shade. This project was constructed using the copper foil technique.
Optical Illusion Donut Pendant—Advanced Panache
Design, Fabrication, and Text by Tanya Veit
A 2‑1/3"-diameter fused dichroic pendant decorated with Waterslide decals and glass paint markers. Black-backed dichroic glass is used for the base of the pendant, which makes the design and colors of the decal appear even more vivid. The piece is flipped and fired upside-down, and a diamond drill bit is used to create the donut hole where a link can be positioned for hanging the pendant.
Look, Mom, No Mold!
Text and Photography Tony Glander
Techniques for creating fused and slumped glass pieces without the use of a mold. High-temperature wire is used to help shape and slump two 8" screen-printed circles of glass. A 3/8" ring of the high-temperature wire is placed in between the layers of glass at each of 4 compass points. After full-fusing the glass, the disk is hung by hooking a wire to the ring and hanging it over a square drop-out mold or kiln posts.
Kiln Crafting—Eye Protection for Kiln Workers
by Gil Reynolds
An overview of the importance of using quality eye protection while working with kilns. Emission variables of different types of radiation plus factors that determine danger levels are reviewed. Information on the different types of safety glasses and eye shields and which is appropriate for each work situation is also included.
Cocktail Dish—Blue Phase Going Reactive
Design, Fabrication, and Text by Petra Kaiser
A 5" x 7" fused and slumped dish created using red reactive glass and Kaiser Lee Board molds. Clear reactive red glass is used for the base, which was then covered with red reactive opal glass powder and pieces of coarse frit and chunks of the base glass. Firing instructions are included.
The Kiln Corner—Electric Circuit Breakers
by Arnold Howard
Techniques for avoiding overloading circuit overload. Tips are included for disconnecting kilns from the power source when not in use and for using a lamp to determine which circuits in the circuit breaker are being used by the kiln.
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