Making the Holidays Merry with Fused Glass

I love the holidays and making the house festive. I realize how much I miss this now that I'm in a apartment in the Seattle area and all of my Christmas decoration are in storage. In the spirit of Christmas, I thought I would share a could of decorating ideas for the holidays using fused glass, of course:

Use fused glass coaster bottoms under candles to add color. I typically do this with 3 candles (one larger and two smaller) and use the 4th coaster under the soap dispenser. This is especially nice with holiday coasters and red, green or blue candles and a great way to add color. Another alternative is to spread out the candles and coasters (rather than group them as three) or give a candle and coaster as a holiday gift. And, of course, coasters can be used just as they are too ;)

Make entertaining special and serve desserts on fused glass plates or platters. Last year, I had a holiday open house and used platters for the breads and cookies, a nice touch!

Decorate the tree with fused glass ornaments. I enjoy making ornaments, even though they can be very time consuming. It can make the tree a little more special to have something handmade and original on it. Ornaments can also make very nice hostess gifts.

And, for those of us who are space constrained or decorating minimalists, it's still nice to have a tree of some sorts in the house :)

Happy holidays! Wishing you a wonderful Christmas, filled with the joy of the season.

So You Want to Be A Fused Glass Artist. Part III: Determine How to Sell Your Art

For most people, if you decide to become a fused glass artist, you will need to decide how to sell your work. Why? First glass can be expensive. And, as you learn, you'll want to invest in more supplies and tools to help you create new pieces of work. Also, as you make more, you'll need to figure out how to get rid of all of your creations. There's only so much you can give away, so selling makes sense.

There are many options for selling your work. The main areas are listed below:

1. Online - This can be your own website or an online sales site such as Etsy. I notice many fused glass jewelers sell via online sites. However, effectively maintaining a presence on a site can be a full time job as you must constantly list and relist to be shown on the first few pages. There are also people who sell functional fused glass plates and art on online sites. While not as competitive as the jewelry category, relisting is also important. An important thing to consider is the pricing and quality of your work compared to what's listed on the site. Another option is to sell via your own website. However, for most artists starting out, it's difficult to have a large enough base to generate enough traffic and sales.
2. Shows - There are many levels of shows from local craft shows, to juried art fairs, to the higher-end juried prestige shows. This is what I choose to do. In my opinion, it's much less work than what is required to support an online shop (each show is typically over a weekend) and I enjoy interacting with my customers. My ideal show is one that is juried with a similar quality level of artists (about 150). Since I don't participate in many shows, I can be a little selective. I prefer local shows with overnight security (so you don't have to pack up every night) and where all the artists are grouped together on the main street (so you don't have to worry as much about having a bad booth location). If you decide to sell via shows, I suggest you visit them in advance to get a sense of the traffic and other artists. Applications are typically due 3-6 months before the show date and require a booth photo as well as photos of your work.
3. Wholesale to shops - this can range from visiting your local artisan shop to see if the owner would be willing to sell your work to participating in national wholesale shows that attract shop buyers. This isn't an option that I've explored mainly because shops tend to take 40-60% of the sales price. This is because the shops provide the marketing and retail space. Wholesale is a good option if you don't like participating in art shows or if you decide to make glass fusing more of a full time job. Wholesale can open up sales opportunities if you participate in national shows as these shows attract buyers from across the country. However, national shows also require a higher degree of professionalism and cost, especially in your booth presentation. You also should be sure that you can make and deliver a large volume of merchandise in a timely manner.
4. Galleries - similar to wholesale, galleries tend to take a 40-60% of the sales price. However, rather than buying the merchandise upfront, some galleries may offer your work on consignment, which means that you don't get paid until your work sells. Galleries tend to attract a higher end clientele, which is great if you create higher end work. It should be noted that typically what you sell through wholesale will be different than what you sell through a gallery. Gallery work is more one of a kind or limited edition art whereas wholesale work is more mass produced work at a lower price point. Selling through galleries can also help bolster your reputation.

There are many ways to sell your work. You need to find the way that works best for you. A couple questions to ask yourself:

• How much do you want to make and sell?
• How much effort you want to put into selling?
• Do you like interacting with people?

Hope this helps. If you have any additional questions or thoughts, please feel free to contact me.

So You Want to Be A Glass Artist. Part II: Tips for Developing Designs

Because glass can be expensive, especially when you have to buy a separate sheet of glass for each color you use, it's best to start with a design to minimize waste. The benefits of using a design include:

• Determining the right proportions before you start cutting the glass
• Determining the right color combinations before you start cutting the glass
• Speeding up the time to create the glass piece - a lot of time can be spent figuring out how you want to put a piece together when you don't have design. This becomes more important as you make glass for a business rather than a hobby.

One key lesson that I've learned is that if a piece doesn't look good going into the kiln, it won't look good after it comes out. Although having a design can minimize this, it still can happen - which is due most of the time to the color of the actual cut glass compared to the color in the design. If it does, it's worth re-working the designs and colors to get a piece that'll make you happy. While many believe that the firing transforms the glass, I've never had something that I didn't like "magically" transform in the kiln to something better.

To create my designs, I like to draw them out on graph paper to get a sense of proportion. Some people also create sample tiles of the fired glass to determine the right colors to use. This is especially useful for those glasses that strike or change color when fired. I didn't take the time to do this when I first started and found out the hard way that some colors that look like they work together unfired, do not afterwards :(

Because of the many forms of glass, glass artists can create any design that appeals to them. Cut glass is more prone to blocks of solid colors. Glass powders and frit add the option for blending and the use of shapes would be difficult cut (notice holly leaves below).

A more advanced use of frit is called frit-painting which uses glass powder and frit to create a picture or painting over multiple firings.

Kiln-carving adds depth as well as design. This technique involves cutting a design out of fiber paper and letting the glass slump into it.

For more complex work like with glass powders, may artists develop test tiles or miniature pieces to test the colors (because the color of powders become darker in proportion to amount used) and techniques. In fact, I would recommend creating test tiles for any new form of glass fusing. At the beginning, most glass fusers create test tiles of how the glass fuses together at different temperatures. Fusing temperatures also contribute to the design. Glass fused at lower temperatures will have a raised design while those fused at higher temperatures will have a flat design.

While it can be fun to try a variety of disparate designs, consider developing a set of designs that you can explore. This gives you a body of work that's more cohesive and allows you to delve deeper into the technique. As you continue to explore, you may find this work inspires new designs. Exposure to other glass artists and learning new glass techniques also opens you up to new glass designs. I know I already have a year's worth of designs that I'd like to do. Glass is one of those areas where there's always something new to learn and something to inspire you to create something different.

So You Want to Be a Glass Artist. How to Get Started - Part I: Setting Up Your Studio

Over the summer, I participate in several art shows. Often, people who visit my booth remark that they are interested in making fused glass. For those of you are serious about beginning to fuse glass as a hobby or more, here's a few tips on getting started and having a studio of your own.

The first step is to determine where you will make the glass - in a home studio or a place where you can rent the equipment. If all you want to do is to make a few items, renting the use of a kiln is the best avenue as you minimize start-up costs. However, for those who are more serious and want to purchase a kiln, the most important decision is size and voltage. The larger kilns run on 240 voltage and most likely need dedicated power. The kilns that run on standard voltage are smaller in size with the largest kiln allowing you to make a 12" square. This could be more than enough if your goal is to make jewelry but can become small if you are interested in making larger bowls, platters or art panels. Most fused glass artists recommend getting the largest size kiln you can afford as most people eventually trade up - making fused glass can be addicting!

Besides the kiln, you'll need to purchase glass cutting tools (glass cutter, breaking pliers) and sheet glass at a minimum. However, to create better quality work, you will most likely want to invest in the some of the following:

Basic

• Cutting system - to make more uniform cuts
• Grinder - to shape or smooth the glass and remove flares
• Ring saw - cut more unique shapes or fused glass
• Circle cutter - to cut circles; typically used in conjunction with a grinder to smooth the edges

Additional tools:

• Drill/drill press
• Lap grinder
• Wet belt sander
• Tile saw
• Sand blaster

For the power tools, you'll want to get the tools with the most horsepower. Most glass artists, start with the basics and gradually build up their studio as they can afford the other tools. However, the goal is to buy the best you can afford. For me, because I am budget and space constrained but want quality equipment, I tend to purchase "entry level, professional" tools instead of "hobbyist" tools.

In addition, you'll want to have access to water (for cleaning and as a coolant when you run your tools) as well as a flat, well lit area to cut and assemble the glass. Storage is also important as you'll find you quickly accumulate many glass supplies. It's easy to start out with a little space, but if you're like most fusers, you'll soon find yourself wanting more room for all the tools you hope to get as well as the different forms of glass (e.g. powders, sheet glass, shards) and accessories.

If you're still serious about wanting your own studio, I suggest you get a copy of Contemporary Fused Glass by Brad Walker. Here you'll find a whole laundry list of supplies as well as a more detailed discussion of the basics of making fused glass.

Next post: So You Want to Be a Glass Artist. Part II: Tips for Developing Glass Designs

How to Make a Raku Bowl

As I'm new to the Seattle area as an exhibiting artist, I am taking advantage of this summer to check out various art festivals in the area. So far, I've visited the Bellevue Art Fair (my favorite as a consumer, probably not such a great fair for me as an artist due to the long hours over 3 days), the Bellingham Arts Festival, the Anacortes Arts Festival, and Fresh Paint in Everett. I love seeing the different artists and their works. One artist of interest was Brian Somers who paints, sculpts and makes wonderful raku works of art. Raku is a type of Japanese pottery that is primarily used as part of the Japanese tea ceremony, often in the form of bowls. Raku means "ease" or "enjoyment" and got its name in the 1500's when a Japanese warrior presented a seal with the Chinese symbol for Raku to the potter who created handmade tea bowls that he favored. Raku then became the name for the family that produced the wares. Both the name and the ceramic style have been passed down through the generations (sometimes through adoption)!

I first met Brian at the Bellingham Arts Festival where he offered a hands on demonstration of how to paint the bowl and how to fire it. Lead or other metals are used as part of the glaze because of the shimmer they add and their ability to crackle or "craze", taking on the darker color from the carbon that happens later in the process.
Wide brush strokes are typically used in a more asymmetrical pattern, with colors layered on top. Splattering paint can add a nice effect on top. Any part of the vessel which is left unpainted will eventually turn black from the carbon once it comes out of the kiln.

This is the kiln with an unfired bowl on top

Once the bowl is painted, it goes into the kiln to be fired, reaching a top temperature of 1800. Time in the kiln is short, say 20 minutes, as the glazes fire at relatively low temperatures. This is a lot shorter than when I use my kiln for glass, which can take 12-15 hours! Once fired, the bowls go straight into a lidded aluminum container (for the demo, this was a garbage can) to create a reduction atmosphere which creates a luster and iridescence from the metals in the glaze when the oxygen is pulled from the glazes and clay and when there is combustion inside (i.e. flames from contact between newspaper and the bowl that comes straight from the kiln). This part of the demo was interactive for all people who made a bowl. I had the job of opening and closing the garbage can, while my friend, Heidi, had the job of covering the bowls with newspaper (and staying clear of the flames)! Next the bowls are transferred to a bucket of water to stop the process and to help clean off some of the debris before the bowls are individually washed.

This was a great way to experience another form of art and also very addictive ("I know the next one could be better..."). My friend, Heidi, who lives in the city went back the next day to make some additional bowls with her kids. The Seattle area is a great place not only for viewing art but for hands on experience! Let me know what you think and if you've seen other ways to participate like this at a venue.