How-To

Before I was fortunate enough to own a kiln, I used to experiment with all kinds of polymer clay using recipes for faux gemstones. It was fun and inexpensive. While giving a fused glass lesson the other day, I said, "Hey, lets try to make some faux opals." So, we crushed up some green and orange, clear backed dichroic glass (from the Uroboros Magic Box ), and mixed in a tiny bit of crushed opaque white glass. We cut two transparent ovals, covered them with Bullseye Glastac Firing Glue , and sprinkled on the frit. We added another layer of glue and piled up some more frit. The beauty of this glue is that you can use as much as you want. I love it for holding the frit on the edges of bowls and glass. The fired pieces looked like opal cabochons! To make the cabochons more opaque, I used my Dremel tool, and ground the back sides of the glass. I did find, however, that gluing the pieces to a ring or pin blank, kind of takes the effect away. This would be an excellent tool if you were using the cabochon in a bezel, like I saw in one of the "how to" lessons, that inspired me. Adding an oval of dark green, like a doublet, behind the cabochon, might create an Australian

I am always trying to save my scraps, even if they are metal. I grind my glass, pin backs and bails with my dremel tool (I've found that they stay glued together much better that way), and I started saving all of the grinding scraps. I save the sterling silver grindings in one bottle, and my gold plate with mixed metals, in another. One day, I was looking at some old green sea glass lying on the beach. I thought about folks sending notes out in a bottle, and it being found miles away, full of sand on a beach. I wondered if I could capture that idea in a pendant. When I got home I put those ground metals to use. First, I cut one square of transparent glass, then a smaller square of aqua-green transparent glass, and a tiny square of transparent glass. I sprinkled some of the mixed metal grindings on top of the clear glass, then placed the aqua glass on top of that. On top of the aqua glass, I sprinkled the sterling silver grindings, and capped it with the smallest square of clear glass. Once fused, the mixed metals turned a nice dark color like sand, while the sterling silver grindings stayed nice and bright, just like clear sand. The set did remind me of the s

I'm always looking for ways to use my scrap, so I decided to give the round screen melt set a try. I had mixed feelings about it, because I made the mistake of not following the fusing schedule, and tried to wing it with my pre-programmed kiln. Despite the error of my ways, I ended up with some very pretty glass using two colors of opal art glass scraps. With my screen melt complete, I used a Sharpie pen to trace out my images, and began cutting them with my Taurus 3 Ring Saw . Once I finished the shapes, I put the pendants and purse hangars back in my skutt Firebox 14 kiln , for a fire polish on the slow tack fuse. Some got bails, some wire wrapping, and the others were epoxied to purse hangers . Looking back, If you follow the Delphi directions labeled as users manual in the product description on the screen melt kit, I can imagine the wonderful bowls and pieces that could be created. Learn more about Michelle Rodriquez on her website. The views, opinions, positions or strategies expressed by the author and those providing comments are theirs alone, and do not necessarily reflect the views, opinions, positions or strategies of Delphi Glass. De

It is true. Even the best of us get bored. We work and learn and experiment with one medium or one itty piece of said medium (which, like a new love, we are infatuated with - can think of nothing else)but, after a while -things can get stale. It's normal. The beauty is to realize that all these lovely and wonderful and awe inspiring mediums do not have to live in a vacuum. When you get bored with onedo a little of what I like to call Medium Mash-Up. My latest mashups have been with my own fused glass and silver. You can only fuse so many pendants and plates before you've had enough. For me, that means it's time to move on to another process for a while. After working in silver (mostly rings) and loving itone day I found myself staring longingly at my lonely and unused kiln (I think she was jealous of my new fling, er, medium) - it was then I decided to bring my glass and silver work together and introduce them. I began taking small bits of my favorite pieces of sheet glass and fusing them into amazing little gems that I could set like stones. Using the knowledge that glass likes to naturally be around an 1/4 thick, I knew that by cutting small squares, they would bead up

Photographing glass objects is not easy, and yet, it's often the photograph that sells the piece. If you're advertising classes online or selling your work on Ebay, Etsy or ArtFire, good photography is essential. Here's what you will need: 1. A light tent. You can purchase one for about $100, or you can make your own relatively inexpensively. Read this article for step-by-step instructions on making your own light tent . 2. Light fixtures. You need at least one light for illuminating directly onto the object from above. If you have a desk lamp with an adjustable "neck", that will work. If you are getting too many shadows, or too much glare, you may need a set of lights to illuminate the sides of the box instead. Just make sure you're using "daylight" or "full spectrum" bulbs, and that all of your fixtures are equipped with the same type of bulb. 3. A Camera . Here's a great article by Steve Meltzer author of Photographing Arts, Crafts and Collectibles outlining cameras. Even your point-and-shoot will work better once you have your light fixtures and tent set up. Good luck! For more great photography resources, check out one of these great photog

The holiday season is over . The ham has been eaten and all your resolutions have been made (and probably broken). The time for making and giving out all your large and time consuming presents has passed...now what? Creatively stunted? Need a change of pace or something that is easy, simple yet stunning? I know around this time of the year, I sure do. I need an activity that has a fast turn around time and the oomph to push me to create more. Sometimes just the act of creating can push you kicking and screaming through a creative block. Enter the fun (and inexpensive) holey molds. What a perfect way to use up scrap glass AND to produce a baseline piece from which to creatively expand upon. The best part? As the name denotes...they fuse with the hold already MADE - no messy, time consuming drilling! (Which, in the dead of winter in Maine - for me - is a pain in my rear as I have to go out in my unheated barn to drill.) Beware though...they are totally addictive. The minute Im done with one kiln load...I immediately fill em up for another go round. The process is very easy - spray molds with mold release , fill with frit (I use crushed scrap glass) and fuse. Viola, a w

As a "crafty" person, the holiday time can be rough . Not only are we lugging around 7.4 million pounds of "product" to various craft shows, we also have the expectation upon us that we will hand make everyone's holiday gift...because, we're crafty like that (plus, you and I both know that it would KILL us to buy gifts that we could otherwise make - it's in our DNA). So, at the end of the day - our backs and feet are killing us, we'd rather die than smile or make small talk with one more person, we have a car full of stuff to unload (which we also both know will stay there for another 3 weeks until we can't stand it much longer)...and I have to MAKE a present for your sister's husband's aunt's niece who is in college? Oy. Enter the scrap glass suncatcher slash holiday ornament. This has been my go-to holiday gift, birthday present, housewarming trinket....the "oh-my-I-can't-believe-that-day-has-come-so-fast-and-I-have-nothing-made" gift. Not only is it eye catching and totally customizable (big/small/ornate/simple) it is a snap to make, a snap to fire and it digs into and uses some of that HUGE pile of scrap glass that stares at you every time you even THINK a

Perhaps you've had a bad experience with bottle cutting in the past. Or perhaps you've never tried it because the process seems too daunting. Fret no more. Dr. Lauren (I’m not really a doctor, I just play one in this blog) is in the house. Here are my 7 recommendations for relieving bottle cutter seperation anxiety. 1. Practice good bottle hygiene. Make sure that you remove the entire label from the bottle you want to cut. Even the smallest amount of sticky residue will interfere with the scoring process. We recommend using rubbing alcohol to get most labels off, but if you have a really stubborn label try nail polish remover with acetone. 2. Always keep your cutting wheel oiled – this is a big one. The better you oil the wheel, the smoother your cut will be – a lot of the separation issues I hear about are quickly resolved when the wheel is oiled – bonus - the more you oil the wheel the longer the blade will last! 3. Remove stress. Remember a good cut doesn’t require a lot of pressure. Most people think that the bottle will separate much better with a deep cut, but that is the opposite of what will happen. When

The Feathers of the Phoenix Plate is the most complex plate I have made so far . Making the glass feathers and fusing the plate is an 8-step process. It starts with a glass brick that is fused from layers of transparent and opal glass dammed between four kiln bricks . The brick is then sawed in half and bookended, then fused again. After fusing, the brick is sawed into thin slices with a round diamond bladed Taurus 3 glass saw. The slices are again bookended together and fused with a piece of clear glass on top. All the glass feathers turn out beautifully and never look the same. They can be used in jewelry and plates. The feathers are laid out on a black piece of opal glass and fused flat. Then a transparent piece of glass is placed on top, and the plate undergoes another 12-hour fusing. The last step is slumping the platter in the 10" by 10" plate mold , and rubber feet are attached to the backside of the plate. Learn more about Michelle on her website. The views, opinions, positions or strategies expressed by the author and those providing comments are theirs alone, and do not necessarily reflect the views, opinio

I saw a free stained glass pattern in the Delphi newsletter that I just loved. I knew if I made it into a stained glass panel, I wouldn't be able to eat off of it. So I set out to create a fused glass platter instead. My husband and I decided to cut all the pattern pieces by hand (thinking about it later, I would have used my Delphi Taurus 3 glass saw ). We sandwiched all the fusible pieces between two sheets of transparent 96 COE glass . In the end, I didn't have the heart to slump it into its mold. I made a channel on each side with fiber paper foam and transparent glass, to hang it with.(I have learned to double the channels for the wire loop.) There were some bubbles due to our handcutting and gaps, so the second fusing got rid of some of those. During the second fusing, I made the transparent channels to hang the piece. Next time I would leave the extra sheet of glass off of the top.I still haven't mastered increasing my hold time during the second ramp up phase of firing. Using 26 lb. cable wire, we can now hang it in the small window of our closet or shed showroom. Visit Michelle's website to read more about her.

As a fused glass jewelry artisan I have probably spent as much time on the look and feel of the backs of my pieces as the fronts. I have found that the feel of the glass on the skin is as much a selling point as the colors or design. Its the same conundrum fiber artists have been dealing with for ages: wool is an amazing fiber - easy to knit with and warm - but the majority of folks just cant stand that itchy feeling on bare skin. The same principle applies to glass. What you use on your kiln shelf can determine exactly how your pieces will feel on the skin - and in turn, can make for a happier customer. After experimenting with various methods including kiln wash (produces a very rough feel) and thicker fiber papers/boards (again, too rough) I have settled down into a very happy marriage with a thin kiln shelf paper. It wasnt such bliss in the beginning, though. Like most artisans, we tend to be cheap (not because we dont want quality, but because we want to stretch every last penny in order to buy more glass). There is nothing more unsatisfying than spending money on the accouterments instead of that glorious piece of glass youve been eyeballing for mont