Lifetime Achievement Award Recipient - Lost Art Originals

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FUSED GLASS DESIGN ELEMENTS WITH MULTIPLE FIRINGS WORKSHOP OUTLINE STRIP FUSING FOR GEOMETRIC PATTERNS: Cutting long glass strips: speed cutting. Cutting thick glass with a glass cutter and running pliers. Lay-up of glass strips on edge without a base. Estimating the balance between mass and surface tension in the firing; how wide to cut the strips. Composing the first generation (parallel lines of color) with regard to subsequent recompositions. Recomposing without decomposing 2nd and 3rd generation firings. Firing with and without a fence around it. PATTERN BARS: Design and composition for viewing on end. Building a fence around it; one more use for fiberboard. Cutting the pattern bars. FINISHING: Sandblasting to eliminate devitrification and make the design more crisp by removing some of the softer glass that may have spread during the firings. Fire polishing the sandblasted surface. Edge rounding during the last high temperature firing. The uses of clear over glazes for devitrification prevention and cure. KILN FIRING PROCEDURE: Preventing thermal shock in the heating phase. Using the time/temperature relationship in the process phase of the firing. Calculating that most important annealing schedule. MURRINI: Cutting glass strips: speed cutting. Design and composition for murrini with strips. Murrini using canes and stringers. Gluing-up the bundles. LATTICINO: Composition and predicting the results. Working with touches of dichroic glass. GETTING HOT: Kiln set-up and tack fusing the bundles. Glory hole safety procedure, including eye protection. Safety precautions when using the kiln as a pick-up and annealing oven. Lighting the glory hole and how glory holes work. Preparing the punty. Picking up the bundle. Heating, paddling, and marvering procedure. Preparing for the pull. Pulling the murrini. Pulling and twisting the latticino.
Pulling cane. Safe use of torches during the pull. Discussion of annealing. EXTENDED TECHNIQUES: Making target murrini. Multiple murrini: foursquare combination. Multiple latticino., Letters and numbers, .Simple figures and portraits. THE NEXT STEP: Cutting the murrini. Using the murrini and latticino in a fused glass project An intro to PATE DE VERRE will be given in this class AND KILN CASTING OF GLASS (4 days) Kiln cast glass can be traced back as far as 1350 BC in Egypt during the reign of King Tutankhamen. Since the invention of the blowpipe faded into the background, but the techniques were never lost. There was a renewed popularity of kiln formed glass among the Romans during 100-300 AD, such as cane and pattern bars (the precursor to Murrini), but kiln forming slipped onto the back burner once again. Economically not feasible, but never lost. I guess that the Roman oven can be like watching a television test pattern and waiting for the and waiting for century the French picked up the ball that the Romans left for the lions. They thermal shocked the glass by dumping the hot glass into water to make a glass gravel, then by mechanically grinding and adding an organic binder made a paste. This glass paste can be selectively placed in to the depressions of the mold and when fired it’ll give color definition in the relief of the vessel, tile, or lighting fixture. Pate De Verre is French for paste of glass The French artists do not let the grass grow under the feet. They let glass glow under the heat. Some of the innovators at the turn of the 19th into the 20th century are Emily Galle, Rene Lalique, Gabriel Argy-Rousseau, and The Daum Family. Galle stopped production in 1910, G Argy-Rousseau went down after the Great Depression, The Lalique Company only makes lead crystal cast vessels, however the Daum Family, in Nancy, France is alive and well with pate de verre. Pate de verre is coming alive again in North America, Europe, and Japan. It is a secret all over the block. It will involve creativity and patience. Results will always happen, but the results that you hope for must be generated. We will be working hands-on with lost wax originals, open-face carved soft firebrick, clay originals, and organics (veggies, no garlic). We will be doing master molds for wax production original molds, which will include multi-part paste, latex and Gel-Flex rubber. We will be using 90 COE glass and frit from Bullseye and Uroboros glass companies (imported from Portland OR) because their colors are good in transparency and they don’t strike (change color) when fired. Foundry craft and glass forming will be combined in terms of pattern design and mold making and kiln firing procedures. We will make single use investment molds as well as multi-use master molds (for wax) using multi-part plaster and flexible rubber materials. All materials and use of tools are included. Students will participate in the kiln firings. The sponsor will set the hours and tuition, and there may be some overtime. There will be no
Page 1 and 2: Dan Fenton Receives Joseph Barnes 2
Page 3: The murrini are made by composing a

Lifetime Achievement Award Recipient - Lost Art Originals

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