My kiln is so HOT!

Please give your readers a little information about annealing your beads since it is a very important part of lampworking!

Wisker, I was thinking that I would discuss annealing some time soon.  And I think it would fit in really well, today.  

It is important to anneal lampwork beads so that they don't break easily.  The process basically "relaxes" the molecules in the glass so that stress is alleviated.   When annealing glass it is important to know the best annealing temperature for the glass type you are using.  The glass manufacturers will give you that information.   For the soft glass that I use, I like to anneal at about 960 degrees.

You will also want to know the approximate temperature of your kiln.  Even though digital kilns will state their temperature on their controllers, they may not be exact.  Now,  I programmed an annealing temperature into my kiln that I always use and it seems to work for me.  But if beads are breaking after being annealed, then I suggest you go back and change the annealing temperature and play around with it until you get good beads!  

I anneal all of my beads.  When I am making a lot of round "spacer" beads I batch anneal them.  So that means that I make my beads and cool them down first.  Later I place all of those spacer beads, after I removed them from their mandrels,  onto a sheet of shelf paper on my kiln shelf and anneal them all at one time.  And at the same time those spacer beads are annealing, I can anneal other beads that I am making at the same time, too!!!  

I have placed a mandrel holder on my kiln shelf towards the back of my kiln.  It is used for beads that I am annealing that are still hot and on their mandrels.  So once a bead is taken out of my torch flame, it is immediately placed into the already hot kiln. 

I use a kiln that has a bead door in front, there are many different types of kilns available for lampwork.  

Remember that if you are batch annealing you must put the beads into the kiln when the kiln is cold.  Then ramp up the heat to the correct annealing temperature and hold it there for the proper amount of time.  Also don't put HOT beads into a cold or warming up kiln.  Make sure that your kiln is already at the annealing temperature before placing hot beads into your kiln.  

Once your beads are in the kiln at the annealing temperature (I leave mine in there for at least one hour, and longer if my beads are big), you can do one of two things.  You can either turn off the kiln and let it cool down on its own.  Or you can pre-set your kiln to ramp down at intervals until finally completely cool.  I let my kiln ramp down at intervals if I made larger beads.  Typically I let my kiln cool down on its own after turning it off.

I have a kiln that has a lot of pre-set programs in it.  That can come in handy but it can also be confusing when setting.  I seemed to have lost my manual somewhere.  So if you have that problem, go online and look up your kiln model.  Most manufacturers have kiln manuals available in PDF format.

Some kilns don't have digital controllers.  These kilns can still be used for annealing but I do not have experience doing that.  All I know is that those kilns use cones to determine the temperature of the kiln.  So just do some experimenting with cones and I think you can properly anneal your beads.  One more thing, I think it would be better to use smaller kilns for annealing beads when on a mandrel.  I think it wouldn't be practical or easy to use a top loading large kiln with heating coils on the lid to do this because you'd have to reach your hand into an extremely hot kiln!  I also like the kilns that run on 110 electricity since it can be plugged into most outlets.  220 kilns can only be plugged into a few outlets in most locations, or a certain outlet has to be wired for it.

Really cool TTV photography

It is important to have excellent photographs when trying to sell artwork online. That is something I discovered after I began trying to sell my glass art online. So when I read something about TTV photography, I was intrigued. TTV means, through the viewfinder. Photographers take an old reflex camera, build a "contraption" on and around it and attach their digital camera to the whole set up so that they can take digital pictures through the viewfinder of the old reflex camera. What it ends up doing is creating old or vintage looking photographs that look wonderful. I thought that perhaps I could do this with my glass art so that I could get some amazing shots. Well, unfortunately I don't own a reflex camera. So that made things a little difficult. But... I do own a digital camera plus, I have photoshop on my computer.

There are some very nice people on the internet that will share masks of their own reflex camera's viewfinder. (What these masks look like are dark black outlines and some dust spots and scratches.) So once I copied one of those masks, I decided to make my own fake TTV photograph with photoshop. It seemed to work, but it didn't work for my glass art yet because my own image looked too light when I applied the mask to my picture.

But here is the first picture I worked on. I think it looks pretty good. It is a shot I took in Montana. The dark black and the specks are the free mask I found online.

I think it is very important to present your glass art work as well as possible. For that reason I wrote a little bit about TTV photography today. If done correctly (I'm just learning about it) you can produce amazing photos of your products. And on the internet, you need the best photos possible to make an impact!

Making dots and lines on lampwork beads

Ok, today I'm back to lampworking info. So I thought I'd write a little bit about how to make dots and lines on lampwork beads. It is actually very easy to do and it makes your beads look unique. There are a lot of presses available but if you only press one color of glass in those presses, you get beads that are plain and basically just like any one else's! Of course it is always nice to make plain glass beads too for certain types of jewelry. 

One color glass beads are wonderful accents in jewelry. It just depends on what kind of lampwork beads an artist wants to use; are they to be the focal in a necklace, bracelet or earrings, OR are they to be used as fillers or accents in a jewelry piece? Anyway, there are always buyers for whatever type of bead you make, if it is made well and properly annealed and cleaned.

So to make either dots or lines I do the same basic thing. I use stringer (which will make small dots and/or lines) or I use a glass rod. Stringer is a smaller piece of glass, like a glass rod but it is usually pulled from a glass rod. You can buy already made stringer but it is easier to make your own.  If you use a glass rod, just heat up the tip of the rod and apply that molten glass right on to the bead you are working on.  Always keep in mind that you have to keep the bead you are working on, warm.  If it cools down while you are getting ready to apply the dots and lines, it will break.  (Some times you can actually save a broken bead by re-heating it in the flame but it doesn't always work.)

Heat the tip of a glass rod in the flame of your torch. When you get the tip of the rod molten, and about 1/4 inch long or more, take a pair of tweezers (I use tweezers made for lampwork because they are long enough that my fingers don't get hot while using them) and after removing the rod from the flame, grab a tiny bit of glass on the tip of the molten part of the glass rod and slowly pull. Now if you want the stringer to be very thin, which looks really nice when used on pressed beads, you pull the molten glass, fast. If you want to make a thicker stringer pull slowly. As you pull you will notice that the new piece of stringer that you are creating will kind of sag between the tweezers and the glass rod itself. Don't worry if that happens, as you pull, it will straighten out. And if it doesn't do that, hold the tweezers and the glass rod in a vertical position and that will help it to straighten out. I don't make incredibly long stringers, they usually end up about 6 to 8 inches long. And I try to pull enough stringer to make as many beads as I plan to make, all at one time.  Once pulled, use the torch flame to cut the stringer from the glass rod.)

Another fun thing to do is make "twisties". To do that you will need to lightly warm up one glass rod while at the same time you need to melt another glass rod so that the tip becomes molten. Then take the molten rod and "paint" it on to one side of the rod you just warmed up. If you want to make more than a two color twistie, you should then keep the rod you just worked on, warm while heating up another rod so that the tip becomes molten. Do not heat up the two color rod enough to make it molten, just warm it up. Also when you added that second color to the original rod, you should have only painted on about 2 inches of glass. Once the third rod is molten, add another line of glass, along the length of the glass rod, the same 2 inches in length as the first color, to the original glass rod.

Then when you have added as much glass as desired to the glass rod that you've been working and adding glass to, you carefully warm it all up so that it becomes molten and with your tweezers, grab the tip of the molten rod and begin to pull and twist. You can also just heat the very tip of the glass rod that you are working on and then smoosh a different glass rod on to that end. Once cooled you can then heat the whole thing up, and then pull and twist the rods. Now you have made a twistie. When using tweezers, once done, dip them in a glass jar of cold water and the glass that will stick on the tip of the tweezers will pop off.

Once you make a twistie or a stringer, you can make dots or lines quite easily. You don't need to keep the twisties or stringers warm, they won't break like beads can. So you can lay them directly on your work surface after you make them. Then go ahead and make your round bead, or pressed bead, and when ready you can gently heat the twistie or stringer in the side of the flame and add your dots and lines directly to your bead!

The picture above shows what twisties look like.

The three pictures above shows a lampworker (not me) pulling stringer. 

I found an excellent video on You Tube.  It was made by beadmanglass.  And it shows how to make twisties and stringer!

Vitri-Fusaille Technique

I am going out of order today to write a review about a glass painting technique DVD, instead of lampworking. The other day I bought this DVD online, actually on Ebay.  The DVD is called, Traditional Glass Painting with Peter McGrain, Vitri-Fusaille Technique.  

Now, I'm not sure if I got a screwed up (perhaps a second) DVD because the order of the projects he worked on, in this DVD,  were all mixed up and confusing to me!  So I'm not sure if this DVD was only $12.00 because of that.  But it was definitely worth the money!  I will just have to watch it a few times to figure out how he did things.

I think Peter McGrain's technique, which he developed himself, is really ingenious.  I have been wanting to paint on glass better.  And now I can take the information I learned in this DVD and apply it to my art.  In the past I have painted Asian themed stained glass.  Two of my own favorite pieces are a Geisha plate which I drew and painted and a stained glass window with a painted koi focal.

Be prepared, if you get this DVD, to see some really cheesy stuff.  I hear that all of the time, that these artist DVD's that are available for instruction are usually full of really lame fillers.  I guess that they think they have to add something "funky" into the video to make it fun?  Anyway this DVD has some serious "funkyness" too.

All in all, if you want to paint on glass, and do it the traditional way, you must have access to a kiln and a light box.  Glass paints are basically finely ground glass with water and a binder added.  So to get the glass paint to become permanent on the glass, it needs to be fired on, or into the glass.  Also available from Peter McGrain are Traditional Glass Painting, Made Easy (Lesson One, Getting Started, Tracing and Matting) and Traditional Glass Painting, Made Easy (Lesson Two, Advanced Techniques, Plus Stains and Enamels).  They are DVD sets with two DVD's per lesson.  I see that they sell for about $40.00 each.  I plan to buy these DVD's soon too, and I think that after watching this DVD, these other Peter McGrain DVD's would be excellent as well.

 

My personal library of stained glass and art glass pattern books (needs to be updated eventually)

I dug through my pattern books the other day and compiled this list.   I use these pattern books in my studio for our customers to look through to get ideas for their own custom windows.  I use this list for my own reference, so that if I see an interesting book that I want to buy, I can go back to this list to make sure I don't already own it!  

300 Stained Glass Cabinet Door Designs by Denny Berkery

A Few Marine Models by DeBrady Glass Studios

A Gallery of Suncatchers by Karla Weaver

A Mosaic Christmas by Dione Roberts

A Stained Glass Journey by Jillian Sawyer

A Victorian Christmas by Kimberlee Lynch

Aanraku Eclectic III, From the Original Collection, Volume 3 by Aanraku Stained Glass

Aanraku Eclectic IV, From the Original Collection, Volume 4 by Aanraku Stained Glass

Aanraku Eclectic, From the Original Collection, Volume 1 by Aanraku Stained Glass

Abstracts by Judy Miller

Alaskan Fever by Laurel Nelson

Alphabets by Aanraku Stained Glass

Alta Pacific Mini-Mansions by Carolyn & Gordon Otsen

American Quilts II, Designs by Sara Guyol, Volume 2 by Aanraku Stained Glass

American Quilts, Volume 1 by Aanraku Stained Glass

Angels & Cherubs by Connie Clough Eaton

Animal Kingdon by Leslie Gibbs

Art Jouveau by Ed Sibbett, Jr.

Audubon Birds by Carol Krez

Australian Birds by Diane Coady

Beveled Glass For Your Home, Kitchen Cabinets, Transoms and Corner Windows by Anna Verbsky Sagami

Building With Bevels 2 by Anna Verbsky Sagami

Bush Beauties by Jillian Sawyer

Celtic Designs for stained glass by Rachel Cecere

Christmas Traditions in glass by Terra

Classic Alphabets by Tammie Martin

Clownin' Around by Janet Schrader

Colour My World by jillian Sawyer

Contemporary Florals by Diane Roberts

Creating with Stained Glass by James E. Gick

Decorating with Australian Federation Stained Glass by Sillian Sawyer

Desert Skies by Joyce Hurley

Designs for Glass Enameling, Techniques and Patterns by Kay Bain Weiner

Distinctive Vases by Lucinda Doran and Joy Bamford

Designs for Lamps II by Charles Knapp

Dog Show II by Bob Schneider

Door Decor by Karen Lewit

Down the Garden Path by Terra

English Muffle Book of Designs, Stained Glass Patterns in the Victorian Era, Compiled by Peter Foster

Entryways by Carolyn Kyle

Floral by Ed Sibbett, Jr.

Floral Stained Glass Lampshades by Connie Clough Eaton

Flower Power by Terra

Fused Sinks and more... Lisa Vogt

Garden Days by Leslie Gibbs and Laura Tayne

Get Fired Up! by Lisa Vogt

Gifts for All Occasions by Judy Miller

Glas Design, Simba + Pussy by Volkmann

Glas Design, Wandlampen Wall Lamps by Volkamann

Glas Design, Wildlife by Volkmann

Glas Design, Winter by Volkmann

Glass Design, Wall Lamps by Volkmann

Glass Etching II, Carving Techniques and Designs by Debra Felberg Oxley & Norman Dobbins

Glass Kiln Casting with Colour de Verre by Jayne Persico

Gorgeous in glass by Debra Felber Oxley

Here Comes Sana Claus by Dione Roberts

His Only Son by Nancy M. Willimon

Holiday Hang-Ups 2 by Alee Soderman-Zurcher

Holiday Images by Terra

Home Sweet Home by Dione Roberts

House Tours II by Judy Miller

House Tours IV-International by Judy Miller

Innovative Adornments, An introduction to Fused Glass & Wire Jewelry by Jayne Persico

Innovative Stained Glass Panels by Dione Roberts

Inspired by Nature by Renee Martig

Japanese Kanji, Volume 1 by Aanraku Stained Glass

Kiln Formed Bracelets by Jayne Persico

Kitchen Cabinets * Windows * Tile, Stained & Art Glass For Your Home by Anna Verbsky Sagami

Lamp-Sculptures by Debra & Steven VanTol

Light Opera by Suzanne Cooper

Look what you can do with 10 pieces... or less! by Carolyn Kyle and Laura Tayne

Look what you can do with 15 pieces... or less! by Carolyn Kyle and Laura Tayne

Look what you can do with 30 pieces... or less! by Carolyn Kyle and Laura Tayne

Marick Studios, Crosses by Mari Stein

Marick Studios, Symbols of Faith by Mari Stein

Marick Studios, The Sun, The Moon and The Stars by mari Stein

Marine Animals by Carolyn Relei

More Celtic Designs by Rachel Cecere

Mosaic Pots, All Shapes and Sizes by Christine Stewart

Mosaic Projects for you Home and Garden by Vicki Payne

Mosaics Unlimited by Christine Stewart

Mystique by Alee Soderman

Northern Shades by Wardell Publications

Nostalgic Glass Boxes by Kim Jorgensen

Patterns, Book Three by Allen Kenoyer Glass

Prairie Designs by Alex Spatz

Prairie Designs II by Alex Spatz

Realistic Game Fish by Stephanie Greene

Rev-it-up two by Matthew McMillan

Round Simple Stuff I by Meriko Robert & Tamra Boncore

Share Crosses by Sonny & Jinger Glasgow

Sharing the Spirit, religious images in glass by Kimberlee Lynch

Southwest Beauty Way by Ruth kamps

Southwest Designs II by Jennifer Cole

Southwest Expressions by Gloria Fohr

Southwest Inspirations by Renee Martig

Stained glass, Exploring New Techniques and New Materials by Giorgetta McRee and Livia McRee

Stained Glass Corner Accents for your windows by Judy Coleman

Star Gazing, Angels, Zodiac Signs, Stars and More by John R. Smith and Linda Abbott

State Flowers by Carolyn Kyle

Table Lanterns II, Lazy Afternoon Lamps by Aanraku Stained Glass

Table Lanterns, Lazy Afternoon Lamps by Aanraku Stained Glass

The Artists of Glassmith Studios Present, The Next Book, Our fourth Collection of Panels, Windows, Doors and Suncatchers

Tiffany Windows by Connie Clough Eaton

Tropical Waters by Leslie Gibbs

Ukiyoe, Japanese Woodblock Prints, Volume 1 by Aanraku Stained Glass

Victorian Doorways by Carolyn Relei

Victorian Stained Glass for Today by Bill Hillman

Vitreous Painting Techniques For Glass Beadmaking by Jim Kervin

Wildlife of the North by Debbie Christ

Wind Watchers by Walrus Publications

Windows of Cincinnati and Northern Kentucky by Cliff Kennedy

Windows of Distinction, Wardell Publications, Studio Designer Series, Collection One, Featuring McMow Art Glass Studio Designers