Step by step fusing project by Danielle Moore

Today we are lucky enough to get to share with our readers these wonderful fused glass pieces that were made by Danielle Moore from Hanging Valley Art Glass, http://www.hangingvalleyartglass.com. We especially love how Danielle documented, with such excellent photography,  every step in her fusing process!   

So now in Danielle's words....

I was asked to design a series with sea turtles as a Birthday gift by a dear friend.

I began with starfish; these are starfish 'bodies' scattered about for the large 12" x 12" platter.

Placing starfish on their foreground for measuring the underwater 'beach'.

Once I figured out the size of the 'underwater beach' for the starfish, I cut it and began adding design elements of the reef and turtle shells. This was a 'design' as I went project - what fun!

Progress on the 12" x 12" platter; each piece individually and custom cut to meet 'the vision'.

Love is in the air...I laid the glass sheet on the last previous shot (once the turtles had their heads!) and drew the heart cut out-water shapes on clear green glass.

After cutting the heart shape and water shapes for the ocean water and placing them on the platter blank.

I added baby sea turtles to represent these two love birds children!

I filled in the empty space on the platter with 4 types of fit for extra depth.

Love turtle detail pre-fire.

Fire 1 complete! In this photo, the blank is ready for slumping and is returned to the kiln, sitting on top of the mold that it will relax and take shape.

Finished piece! Love the rainbowy iridescence reflecting in the light - it's electric!

At a different angle, the glass appears quite transparent.

The beginning of the accompanying 8" x 8" plates.

Cutting reef.

Designing and cutting water.

Love the bubbles going up the sides of the reef! I was not happy with the color of the turtle and eventually traded it out for the black shell with brown legs and head.

Adding frit...

Both plates on the kiln shelf and ready for firing!

Almost finished! Another fused, blank ready for slumping. I added the design on the shell before another firing on plate 1.

Fused blank - plate 2.

And...drum roll...final slumped plate 2!

Nice!

Final plate 1 - the iridescence on this plate took on a smooth, settled water like appearance.

The three piece set! The two turtles on the small plates represent each adult turtle swimming individually. I used the same turtles on the platter, added the 'child' turtles and heart to represent them coming together.

How to etch Dichroic glass

Chances are if you go to an art fair these days you will find at least one stall selling dichroic---or bicolored--- jewelry. This colorful, iridescent glass experienced a surge in popularity a few years ago, and the fad shows no signs of stopping anytime soon. Part of the appeal of dichroic glass is that you can make it at home with a simple kit. But why not go one step further? With a few glass-etching tools, you can engrave your own dichroic glass for a unique look.

Photo courtesy of Harrach Stained Glass

Instructions:

Draw your engraving design on the dichroic glass with a sharp crayon. It is difficult to get a lot of detail if you're working on a small piece, though. In these cases, simply draw a vague outline of your design to help you establish the proportions.

Etch the glass lightly using hand-held, diamond-tipped etching tools. The point here is to etch a light impression of your design without going very deep. You are making a "sketch" of your design that you will flesh out later. 

To etch the glass, simply drag the diamond tip of your tool across its surface. The diamond particles will scratch the glass.

Wipe the wax crayon away with a cloth. The lightly etched design should remain.
Etch more deeply into your design. The deeper you go, the stronger your lines will be. Vary the line depth for a more dynamic look.

Wipe the ground glass from your etching away to reveal your design.

This wonderful article was written By Jennifer Meyer, eHow Contributor
click here to see the original article eHow, Engrave Dichroic Glass

Randy Comer, Glass Fusing Video

Today the video we are featuring on our blog was discovered on You Tube and features the beautiful fused glass art created by Randy Comer.  We certainly hope you will enjoy this one as much as we did.  His work is totally amazing!  Click on the link to see Randy Comer's fused glass art.  His video is very informative, as he shows how he creates his design elements and discusses where he gets his design inspirations.
View video here

Foil vs Lead Came

Have you ever wondered how glass artists decide to use either foil or lead came for different stained glass pieces?  There are actually advantages and disadvantages to using one or the other of these stained glass fabrication techniques.  Basically, there are a few situations an artist should consider when deciding which method to use.  Below we have compiled some information that we use in our own studio to decide which method to use on various stained glass art.

• what is the traditional method of fabrication for this type of design
• does this piece have a frame from which it will be hung
• is there a weight limitation
• does this piece contain a large number of little pieces

Of course we must add that there is really no right or wrong method when creating stained glass art!  Also there are many artists that do not know how to work in both mediums.  

The design aspect

Look at the style of the piece and decide what you typically see used in its fabrication.  You will notice that beveled clusters and other beveled glass windows are usually leaded.  Victorian, prairie style and other geometric designs also look good leaded.  Landscapes and detailed scenes look nice foiled.

Suncatcher, or framed piece?

A suncatcher will last longer made with foil as opposed to lead came.  Unfortunately lead came will stretch and ruin a suncatcher.  If the suncatcher doesn't have a strong frame and will be hung from the lead came itself, the lead came will stretch and fall apart quickly.  We prefer not to ever frame our pieces with lead came, instead we use zinc came for strength.  Occasionally we frame a foiled suncatcher with lead came, but only if we do not intend to hang the piece directly from its lead came frame.  Instead we solder the hanging hooks to an interior foiled soldered line instead.

Weight

Hanging a heavy lead came window can become problematic.  It must be hung correctly from a window frame so as to handle the heavy load.  A very heavy lead window placed in a door can also pose a problem later with the alignment of the door itself.  In areas where weight can be an issue, we advise building a foiled window.  Lead came lamps are heavy and the lead eventually stretches and ruins the lamp.  Zinc came used in lamps works well but it's difficult to bend zinc so it works better for lamps with strait pieces of glass only.  We prefer to build foiled lamps ie Tiffany lamps, which look more pleasing to the eye.

Amount of pieces in the window

Finally, while there are some very talented glass artists that can utilize lead came in windows that have many pieces, we suggest using foil for these projects.  The thin foil lines used in a complicated piece seem to allow the actual image design to stand out as opposed to the heavier lead came (where the lead came might actually stand out more than the image itself).   Also keep in mind that the more lead used in a window, meaning a window with a lot of pieces of glass, the heavier it will weigh when completed.    

 

Mosaic Techniques & Traditions: Projects & Designs from Around the World By Sonia King

If you are interested in mosaics and want to find a book with a lot of information, check out this excellent one by Sonia King.  Below is a link showing excepts from her book.

http://books.google.com/books?id=g3JT9c50VkoC&lpg=PA93&ots=c544IC5_q7&dq=sonia%20king%2Bkeystoning&pg=PP1#v=onepage&q&f=false

Specifying Stained Glass by the Stained Glass Association of America

This article, written about both leaded glass and faceted glass windows,  has a lot of information for both stained glass artists and what to look for - for potential customers!   

Stained glass is a general term covering all forms of

glass used in a decorative manner, primarily for windows,

but also for a myriad of secular uses prevalent today.

In as much as the stained glass craft is an adjunct of

architecture, this Association favors the principle of

architectural direction in the selection of artisans or studios

and the commissioning of stained glass projects.

Products of SGAA artisans are ideas and concepts

that are translated into site-specific designs satisfying the

requirements of the project, budget and schedule. We

believe that project success is better assured when a studio

is selected not on the basis of a “square foot” bid but

rather by virtue of artistic ability, imagination, past success

and, of course, willingness to work within the project

constraints of time and money. Consultation and design progress

review with the architect, client and artisan

should take place before construction documents are

complete. Early and regular review sessions are welcome;

such will save time and prevent the needless cost of

design adjustment.

Therefore, we believe that ideal conditions fostering

mutual confidence and the best practical procedure will

prevail when only one craftsman studies the problem

with the architect and client. Should such a craftsman fail

to provide a satisfactory solution, we believe that he

should withdraw, thus permitting another craftsman to

fully cooperate with the client.

If the prospective client wishes proposals from more

than one craftsman, we earnestly recommend the following

procedure:

1. A personal discussion is held with each craftsman

invited that determines the client’s likes and dislikes,

and to arrive at a general theme and style. If a special

sketch is required, the artist will then be able to create

the appropriate design.

2. The client makes known any budget restrictions. Any

one of our members will gladly assist in setting up a

practical budget.

3. The names of the craftsmen invited to make proposals

are made known to all concerned.

Consultation between architect, client and craftsman

should begin before contract documents are finalized.

Early cooperation will assure a well-integrated

design that considers all architectural, structural and

interior building elements.

Historically, SGAA artisans prefer that their agreement

be directly with the client, fully separated from the

general contract; however, all are vitally concerned with

the full satisfaction of the client and can adapt their

process to fit the project.

Leaded Stained Glass

The Process: The preparatory sketch is translated

into full-size mechanical drawings (cartoons) and further

into actual patterns to be used to cut the glass. Once the

patterns have been prepared and assigned color, the glass

is cut into the myriad pieces required to build the window.

When the design requires detail painting or ornamentation

of the glass surface, it must be done with pigments

designed specifically for stained glass. Once

applied, the pigment is fired in a kiln to the proper temperature

for the respective pigment, usually between

1000 and 1250 degrees Fahrenheit, thus assuring absolute

permanency. The pieces of glass are joined together with

lead came (H-shaped strips) and soldered at their intersections

on both interior and exterior surfaces of the

assembled panel of stained glass. Varying widths of lead

came are often used to add to the window’s decorative

effect as well as enhance its strength.

To prevent leakage, a mastic waterproofing material

is inserted between the glass and the flange of the lead

came. This process, often called “cementing,” is required

on both interior and exterior surfaces of the panel and is

paramount in weatherproofing as well as stiffening the

panel. It is recommended that panels be stored on a flat

surface for a minimum of two weeks prior to installation,

thereby allowing them to properly cure.

Reinforcing bars, regardless of the type, are typically

fastened or mechanically engaged at regular horizontal

intervals to the frame, sash or other substrate into which

the panel is installed. These surface-applied bars further

strengthen and support the installed panel of leaded

stained glass. Round bars usually measuring 3⁄8 inch in

diameter, tied to the panels with twisted copper wires, are

the most flexible and resilient, and therefore allow for the

greatest amounts of thermal movement. Where this system

is not suitable, galvanized-steel flat bars can be soldered

directly to the surface of the leaded glass panel.

Installation: It is recommended that leaded glass be

installed into frames designed specifically for that purpose.

Various types can be considered and include wood,

aluminum, steel, bronze and stone. Regardless of the type,

the most important consideration is that they are capable

of supporting the unique qualities of the type of stained

glass that is being installed. When possible, glazing beads

should be used in conjunction with modern, flexible

sealant systems to allow for flexibility as well as mechanical

engagement of the installed panels of glass.

The stained glass studio should be consulted as to the

best type of frame for the project at hand, the location

and placement of division bars, and mullion configuration

that will work best with the intended design. This

information should be finalized prior to ordering the

window frames or sash (usually supplied by the general

contractor on a new building) into which the stained

glass will be installed.

In general, the type of frame selected needs to be

capable of supporting stained glass weighing approximately

four pounds per square foot and configured with

mullions, allowing sub-division of larger areas into panels

of approximately 14 linear perimeter feet. In addition to

the overall structural requirements, the frames or sash

must include a glazing rebate that measures 3⁄8" to 1⁄2" wide

by 3⁄8" to 1⁄2" deep and allows the panels of stained glass to

engage into the frame or sash a minimum of 1⁄4". An

allowance of 3⁄32" to 1⁄8" between the stained glass panel and

Glazing Sealant: It is highly recommended that all

sealant be of the non-acetic gas-forming or neutral-cure

variety and that it be chosen based on the composition of

the materials and substrates to be sealed. Appropriate

bond-breaking tape and ethafoam backer rod should be

www.stainedglass.org www.SGAAOnline.com 3

used as required to achieve the flexibility necessary for

expansion and contraction of the finished installation.

Faceted Stained Glass

(Dalle de Verre)

Process: A twentieth-century innovation in the art

of stained glass introduced the use of glass dalles measuring

approximately 8" x 12" x 1". These dalles, cast in hundreds

of colors, can be cut into shapes and used, in combination

with an opaque matrix of epoxy resin 5⁄8" to 7⁄8" in

thickness, to create translucent windows and walls of

great beauty.

The epoxy used in the casting of faceted glass panels

must be a specially formulated slab-glass-setting compound

consisting of epoxy resin and hardener. The material

must be able to withstand temperatures of +130

degrees Fahrenheit on the exterior surface and a simultaneous

+70 degrees Fahrenheit interior surface (air conditioned),

and allow for humidity changes of 6% to 100%. In

addition, cast panels must be water resistant on tests of

25 lbs. per square foot static air pressure while 21⁄2 gallons

of water pass over the surface of the panel for one hour.

The design and physical opening size determine size

limitations. However, individual panels should not

exceed 16 square feet. The height to width of a single

panel should not exceed a 4:1 ratio. Large openings must

have horizontal supports to carry the weight of the

stacked panels. Thickness of the epoxy matrix should not

be less than 5⁄8" for unstacked panels. When they are to be

stacked, a minimum epoxy thickness of 3⁄4" is recommended,

with the joints between the panels sealed with a flexible

glazing sealant.

Installation: Faceted glass can be installed in openings

and mullions of masonry, metal or wood, provided

that the system is designed to receive the thicker panels

and carry the load of approximately 10 to 13 pounds per

square foot. The stained glass studio should be consulted

well in advance of finalizing the contract documents for

the appropriate frame type for the project and location of

any division bars and mullions, so as to coordinate them

with the design before ordering frames or sash.

Clearance of 3⁄16" is recommended between the frame

or substrate and panel edge to allow for proper expansion

and contraction of the completed panel. Neoprene spacers

(durometer 40 to 70) can be used as needed to insure

proper clearance.

Glazing Sealant: Faceted glass panels should be set

into a non-hardening material such as butyl, acrylic, silicone

or polysulphide sealant, which should be used both

as a bedding and finish bead. This will provide a weather tight

seal between the faceted glass panel and the frame or

substrate into which the panel is installed. For spaces of

more than 1⁄4" between the substrate and the panel, filler

such as ethafoam is recommended under the sealant bead

to allow for flexibility.

Protective Glazing

Exterior Protective Glazing: Properly made and

installed leaded, stained and faceted glass does not require

exterior protective glazing to make it waterproof; however,

if properly installed in conjunction with stained or leaded

glass, protective glazing may afford some protection against

vandalism and external damage. Because of its high resistance

to breakage, faceted glass does not need protective

glazing. If protective glazing is to be included as part of the

project, it must be decided early in the building program so

that proper framing and installation details can be developed

to eliminate many of the negative effects normally

associated with its installation.

Clear, laminated safety glass and tempered glass are

superior to acrylic or polycarbonate plastics as protective

glazing. The plastics craze and yellow in relatively short

periods of time, while glass remains clear, preserving a clean

appearance to the building exterior.

Current research dictates that protective glazing be

vented, thereby alleviating the possibility of excessive heat

buildup and the trapping of condensation. The specific

method of venting this enclosed space varies from installation

to installation due to many diverse conditions, ranging

from the type of frame system being used to the climatic

conditions and micro environment of the building. Before

considering the inclusion of protective glazing, it is advised

that the advantages and disadvantages as well as the appropriate

installation method be discussed with the stained

glass craftsman.

Protective glazing is sometimes installed as an afterthought

over existing stained glass windows and frames,

usually in such a fashion that is insensitive to the architecture

of the building and without regard for potential harm

to the stained glass. Systems of this type normally include

installing the glazing material in a bed of sealant or butyl

tape along with ethafoam backer rod and then face-glazing

the material with a silicone sealant. This system can be

detrimental to the stained glass and supporting frame and is

not recommended by the Stained Glass Association of

America. In the event protective glazing over existing

stained glass windows is determined to be a necessity, systems

are available to safely install the needed protection

with minimal disruption to the aesthetics of the building.

Please refer to the Stained Glass Association of America’s

Standards and Guidelines for the Preservation of Historic

Stained Glass Windows for further discussion of installation

of protective glazing.

In general, protective glazing should be installed in a

designed system originating concurrently with the stained

glass, not included as an afterthought. When included, it

should be installed in such a fashion that provides inter-cavity

ventilation between the interior installed stained glass

and the exterior installed protective glazing. The space

between the layers of glazing should be as close to 3⁄4" as conditions

allow. It is recommended that glazing materials,

regardless of type, be a minimum of 1⁄4" thick, installed in a

fashion that allows the material to freely expand and contract

within the system and that provides for mechanical

engagement of the material to the framing system.

Glazing Sealant: It is highly recommended that all

sealant be of the non-acetic gas forming or neutral-cure

variety and that it be chosen based on the composition of

the materials and substrates to be sealed. Appropriate

bond-breaking tape and ethafoam backer rod should be

used as required to achieve the flexibility necessary for

expansion and contraction of the finished installation.

Specifying stained, leaded and faceted glass — as well

as protective glazing — can be as much of an art as the creation

of the windows themselves. The requirements for

installation are in most cases unique to the material and the

project at hand and require considerable advance planning.

The guarantee for a timely and successful project is laying

the proper groundwork early on. Just as the foundation of a

building dictates its strength, consulting with a stained glass

artist before the building is started will lay the foundation

for a cost-effective and successful stained glass project.

Please feel free to contact one of our

members or the SGAA Administrative

Office, 800.438-9581, for assistance

with specific questions.

CONTACTING THE STAINED GLASS

ASSOCIATION OF AMERICA

THE STAINED GLASS QUARTERLY

RICHARD GROSS

EDITOR & MEDIA DIRECTOR

10009 EAST 62ND STREET

RAYTOWN, MO 64133

webmaster@sgaaonline.com

www.sgaaonline.com

www.stainedglass.org

800-438-9581

816-737-2090

816-737-2801 FAX

SGAA HEADQUARTERS

KATEI GROSS

EXECUTIVE ADMINISTRATOR

10009 EAST 62ND STREET

RAYTOWN, MO 64133

headquarters@sgaaonline.com

www.sgaaonline.com

www.stainedglass.org

800-438-9581

816-737-2090

816-737-2801 FAX

VISIT US ONLINE:

w w w.StainedGlass.org • www.SGAAOnline.com

Choosing Glass Like the Pros

By Sara Peterson, from THE SCORE (#0071), published by Spectrum Glass Company

Is there a secret to glass selection? According to Roy Little, "color is everything." It's hard to argue with a statement like that—although when pressed, even Roy will tell you that, in the world of stained glass art, there's a bit more to it than that. When you look at the work of the incredibly talented team of Roy Little and Jim Raidl (Little/Raidl Design Studio, Cazadero, CA) there seem to be plenty of secrets they're not sharing. Their portfolio is packed full of an amazingly diverse range of projects that are rich in artistry and creativity. But what is truly remarkable is the way they can design a piece to fit so well into its surroundings. As many clients have observed, it often appears as though the piece actually belongs in the room or has always been a part of it.

We spent some time recently chatting with our old friends Roy and Jim trying to pry loose some of their closely guarded secrets. Roy, with his background in fine arts, is the designer of the team, while Jim tends to fabrication work and the important details of their thriving business. Jim and Roy are as much fun as they are talented. A conversation with them is an experience in its own right, but we did pin them down on a few glass selection areas that should be useful for anyone working with stained glass.

Roy's art background includes Trompe L'oeil—a very realistic style of painting. And true to that background, he selects glass very much like a painter chooses colors to add to his palette before approaching the canvas. Roy's first rule of glass selection is to only choose glass for one project at a time. When his pattern is complete and he has a clear idea of what he needs, Roy drives the 2 1/2 hours to his supplier and walks the glass aisles until he has his palette composed. Even if he happens to have several projects to gather glass for on the same trip, he walks those aisles separately for each one. That way, he can stay focused on collecting just the right shades for the effect he's creating in each project.

Rule number two: subtlety is a good thing. If Roy is spotted shopping for glass, he's frequently followed by a fan or two. More often than not, if one of these admirers has a comment about Roy's glass choices, it's that he has selected some ugly glass! That's because he works very hard at realism and, most often, that leads him away from the vivid, peacock colors toward the more gentle and subdued tones. Stained glass can be a very strong medium and unless there's a good reason to go for a big blast of color, Roy suggests resisting that temptation. When you look at the finished Little/Raidl creations, even the skeptics tailing Roy up to the checkout counter will agree, the glass is as stunning as the design. It all comes together perfectly in the hands of the master.

Roy also pays careful attention to the colors and "feel" of the surroundings where a piece will be installed. He picks up the flavors and tones used in furniture and other elements in the room and uses that information to design a look that becomes an integral part of the whole. He works closely with his clients, drawing out exactly what they are trying to achieve with the glasswork. He and Jim like to think of their clients as the artists and the two of them act as the medium through which the art is being expressed. It's amazingly effective and results in work that exists in complete harmony with its surroundings.

 

Roy did say that "color is everything" but he didn't really mean everything. While color choice is critical, in the world of stained glass there are many other things to consider as well. Glass can have unique characteristics—such as grain, texture, pattern, flow—that can be used to create some wonderful effects in a piece. A classic illustration of the use of a specific glass trait is the piece, "Whirligirl" that Jim and Roy created for us several years back. The carousel horse in Whirligirl is a study in Baroque™. The swirling patterns of the Baroque glass were carefully chosen to portray the roundness of the horse's cheek and chest and the flow of her cascading mane. The result couldn't have been more effective. Another way Roy has used a particular glass characteristic to its best advantage is in the waterfall pieces he has designed. In a single waterfall depiction, Roy has incorporated as many as16 different textures of clear glass to mimic what the eye would see as light refracts off a waterfall in nature. It's truly astounding.

Glass selection is every bit as important as the design of a piece. As you approach your next project, think of Roy Little. "Paint" the piece in your mind as you choose your glass. Really focus on that one project. Picture the room where it will be placed and choose glass to complement the other elements of that room. As you assemble your palette, always look for ways to use the unique characteristics of glass to enhance the effects of your work. And finally, consider Roy's advice: unless you have good reason to come on strong with color—subtlety can, indeed, be a very good thing!