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Glass Patterns Quarterly - Fall 2016


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From the Editor
Life in the Pink
by Delynn Ellis
Managing Editor Delynn Ellis reminds readers how important color is to artists and how the glass community has rallied to support glass businesses facing the need to change the ways in which colored glass is made. Glassmakers are brainstorming ways to keep the glass arts alive, no matter what the color.

Halloween Night
Design, Fabrication, and Text by Deverie Wood
A free-form stained glass Halloween panel featuring a spooky, gnarled tree with flying bat, jack-o’-lantern, ghost, owl, and dangling spider standing against a full moon background. Copper wire is used for the spider’s web, and additional details are added using paint. This project was constructed using the copper foil technique.

Fruit and Wine
Design by Hiroyuki Kobayashi and Jeffrey Castaline, Text by Darlene Welch
A 47" x 24" stained glass panel depicting the celebration of a bountiful harvest. Realism is added through the careful selection of glass grains and the use of streaky glass to create the feeling of texture for the basket This project was constructed using the copper foil technique.

September Showers
Design, Fabrication, and Text by Chantal Paré
A leaded botanical Victorian revival panel that evokes the feeling of autumn. The design is framed in Clear Rainwater glass and features ornamental Bicolor Pear gourds. Details for the gourds and leaves are painted, but foil accents can be used instead if desired. This project was constructed using lead techniques.

Puss in Boots, the Dapper Cat
Design, Fabrication, and Text by Robin Anderson
A stained glass design based on an image of the rakish Puss in Boots found in a Victorian scrapbook album from the late 1800s. Copper foil overlays are used to add the small details including the whiskers, paws, and belt buckle. This project was constructed using the copper foil technique.

Gilded Partridge in a Pear Tree
Design, Fabrication, and Text by Margot Clark
A holiday partridge and pear design outlined on clear glass, then painted in layers. The base coat colors are applied, then glazes of color are added to the base. To finish, the panel is fired to set the colors. A firing schedule is provided.

It’s 5 O’Clock Somewhere!
An Introduction to Wine Bottle Etching and Slumping
Design and Fabrication by Barbee Bosler, Text and Photography by Mali Schultz
Instructions for etching and slumping a wine bottle using the Five O’Clock Somewhere Bottle Slump Mold by Creative Paradise. The bottle is first cleaned, then coated with a devitrification solution to keep the glass from getting cloudy. Etching cream is then used to enhance the design. A suggested firing schedule is provided.

Traditional Elegance
Design by Denny Berkery, Text by Delynn Ellis
A 12" x 24" stained glass cabinet door panel done in a traditional geometric design. The simple lines of the pattern are enhanced through the use of complementary glasses for the main design. Wispy glass creates the perfect frame for the piece. This project was constructed using the copper foil technique.

Noel
Design by Jean Beaulieu, Text by Darlene Welch
A 6‑1/2" x 7‑1/4" free-form stained glass design featuring a stunning, beautifully wrapped holiday package topped with a large bow. This panel would make a perfect gift for friends or loved ones as a reminder of holiday times shared together. This project was constructed using the copper foil technique.

16-Page Full-Size Pattern Section

Jingle Bears
Design by Robin Anderson, Text by Delynn Ellis
A 24" x 17" stained glass panel featuring two bears racing down a snow covered hill on their favorite sled. The pattern is based on Victorian ad images from the late 1800s. The exquisite detailing on the animals and clothing bring the design to life. This project was constructed using the copper foil technique.

Contemporary Crystal Woven Glass Bowl
Design, Fabrication, and Text by Gina Sneiderman
A fused and slumped square bowl with the look of crystal created with layers of glass strips cut from Clear Tekta plus Silver, Gold, and Rainbow Irid. The piece is built by layering the glass strips directly on the kiln shelf then slumping into a square fluted mold. Firing schedules are provided.

What’s New
by Darlene Welch
Information on the latest in books and patterns plus new glass and tools for hot, warm, and cold glass artists and hobbyists. This is the perfect place to keep up with the innovations that will make working in glass easier and more enjoyable.

Holiday Fused Spoons
Design, Fabrication, and Text by Kelley Mc Hugh
A set of holiday spoons created from Mardi Gras and Red Reactive transparent glasses. The handles of the spoons are decorated with Confetti G lass pieces, liquid applicator pens, and liquid white, gold, or platinum paints, then fused using Creative Paradise molds. A firing schedule and firing tips are included.

Fused Fall Leaves . . . With a Twist
Design, Fabrication, and Text by Rosalind Stanton
A free-form fused glass wall hanging created with large-gauge copper wire shaped into spirals. Straight stems are added, and nipped glass pieces are clustered on the stems. The piece is then fired, and the leaves and stems are attached to a purchased metal branch. A suggested firing schedule is provided.

Combing Glass
by Dennis Brady
A discussion on the proper way to comb glass. Safety concerns are covered as well as techniques and tips for producing different patterns of combing. Information is also provided for making the best choice of kiln types, selecting the appropriate tools, and timing projects. A suggested firing schedule is provided.

Festive Lights Bowl with Cast Foot
Design, Fabrication, and Text by Randy and Carole Wardell
An 11‑1/4" fused round decorative bowl featuring a string of festive holiday lights and center sprig of holly. Black stringer is used to define the details on the lights. Two layered glass circles with decorations are fused, then slumped into a cast-foot BinaSphere Mold from Joy of Fusing.

Stained Glass Supply Shops

Kiln Corner
How to Choose a Kiln
by Arnold Howard
Answers to questions from readers on various aspects of selecting a kiln. Important things to consider include the size of the circuit available in the studio, whether a front- or top-loading kiln would work best, and whether the kiln can handle the temperatures required for a particular type of work.
  • Model: GPQfall2016
  • Shipping Weight: 0.1kgs

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Glass Patterns Quarterly - Fall 2016

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