How To Get 50 Different Glass Magnets From 3 Pattern Bars

This year, I participated in a magnet exchange with members of the Warm Glass board.  It's actually called a "magless" exchange because everyone provides the glass but not the magnets (saves on shipping).

Since I've been playing around with pattern bars, I decided to try a couple of new variations, with designs that I might use for a larger plate.  I started with a couple of frit bars (2 color – opaque and transparent from frit I made) as well as a random pattern bar (technique learned from Brock Craig).

My first round of pattern bars were 2 ½” wide – this is because these were the narrowest dams I had (actually, I could have made some 1 ½”wide had I thought about using the width in advance)  After a little coldworking, I combined those bars with layered sheet glass into a new pattern bar.  I did this in two steps to create a nice clean line between the layered sheet glass and the bars, which I fired again. The second bar has layers of black and red sheet glass with red transparent and opaque frit.

The final bars were ground, cut with a tile saw and coated with devitrication spray before being fire polished.

Before firing:

After firing:

What I learned:

• Large pieces of frit condensed down more than I expected – I knew this but didn’t think about it as I was limited to the amount of frit I had.  Fortunately, this wasn’t an issue as I had already planned to combine it with sheet glass.
• It’s best to plan the size of the pattern bars ahead of time so that you have the right sized dams.  At the time I cut up my kiln shelves, I had not planned on making narrow pattern bars (i.e. wasn’t planning on making maglesses), so I had to get creative with using the dams to make everything fit as the final bars were less than 2 ½” wide but not 1 ½” wide.
• I misjudged how many pieces I would have once I cut up the pattern bars. The blade ate up more glass than I anticipated.
• The devitrification spray did not work as well as I hoped – I should have sprayed a heavier coat and took the time to swab the sides (easier to do with one large plate than 64 maglesses).  Originally, I planned to sandblast them, which I should have done but was feeling a little rushed to finish them and opted for the “quicker” route rather than drive to the city to use the sandblaster.

And, here's what I received in exchange.  I have to say I was quite thrilled opening the box and looking at all the different designs. 

Here's a few of the more intricate designs and the ones that particularly appeal to me:

Now I just have to figure out what to do with all of them.  My husband has suggested that put magnets on them, buy a nice board and put them up over my work area in garage.  Any other suggestions?  Which ones do you like?

Live Jury Experience

In my prior post, I mentioned part of the reason that I was creating new work besides just overall interest in the technique was for a live jury that I had this month.  Normally, jurying just involved submitting photographs but for this jury, each candidate had to select 8-12 pieces that they would set up on a 6' table.  The jurying took place at Fort Mason, San Francisco and all the artists had to be set up by 7:00 pm.  Then we had to clear the room (a waiting area was provided) and come back at 9:30 pm to pick up our work.  Fortunately, I live in Oakland, so it wasn't too difficult to travel back and forth.  However, some artists drove from Chico or Los Angeles and had to spend the night.

Here's what my table looked like:

While, its a little hard to see each item,  this give you an idea of my display and set up - symmetrical, on white, with lights behind the three main pieces, which was a nice effect as I didn't get the benefit of being in front of the window once the sun went down.

Unfortunately though, I was not accepted to be an exhibiting member.  The feedback was that while the judges appreciated the technique, they wanted to see a deeper exploration in terms of form.  I should mention that the jury was made up of ceramicists and glass artists, so for a ceramicist it's much easier to have different forms of bowls, vases...etc.  Their comment was that my shapes looked similar, which was actually my intent.  I make plates and platter in the same shape so that they can be mixed and matched.

However, they encouraged me to apply again (next jury will be in October; although jury members will be different).  So I guess in the meantime, I'll be playing around with some bowls and possibly draping to get a vase-like effect.  If you have any suggestions for other forms, please let me know.  And, when I get around to taking close-up photos to put on my website, I'll include them in a post so you can better see the designs (or include a link to my website).

Making Fused Glass Pattern Bars - Part 2: Design

My last post ended with me firing my second batch of pattern bars.  Unfortunately, the kiln failed and I needed to replace the relay, which delayed me for a little while.  For the second batch, I used longer glass pieces, which seemed to increase the height of the end product.

Once the bars come out, they may need to be ground around the edges to remove the glass burs as well as make them flat and smooth.  This will help as you lay them out since you want the cut glass to line up rather than have little areas that flare out.

After the bars are ground, they are cut up with a tile saw.  The slices are about 1/4" wide.  To help with cutting, it's good to have a fused piece of glass that you can put against the end of bar to avoid chipping as the blade runs through the end.  Also when the bar gets thin, I like to put a piece of glass underneath to steady the bar.

Here are the results from two firings of blue/green and multi-colored pattern bars.

The next step is to sandblast the bars to prevent devitrification.  After this, the bars are ready to be used in a design.  These were just loaded into the kiln today.

After they're fired, I'll coldwork the edges to make sure they are smooth.  Then, I'll fire them again, turning them over (so what you will see is the reverse of the photo).  And the last step will be to slump them so they can be shaped into plates and platters.  My goal is to have about 10-11 pieces done by 3/12 for a juried (in person) event.  In a later post, I'll show you my set-up for the jury and you can see the finished pieces.

This is a new effort for me.  These are already a favorite of my husband.  I like the result but find that I don't enjoy making these as much as some of the other things I've made.  Let me know what you think!

Making Fused Glass Pattern Bars - Part 1: Prep

I have been fascinated by pattern bars as I love the colors and designs that they make.  However, the "how to's" of pattern bars are not easy to find.  So in 2009, I took a class on how to make them offered by Brock Craig in Vancouver, Canada.  While I had planned to take the class later (closer to the time I actually planned to make them), this was Brock's last class and I wanted to learn the technique, a couple of which he developed.

Here's an example of what Brock calls a "random pattern bar." I've also seen this technique referred to as a "progressive pattern bar," which I find a little more descriptive.  While I made the pattern bar in Brock's class, I finally got around to fusing the bars into a panel and I am very happy with the results.

Making pattern bars require a fair amount of prep work.  The first thing you need are dams for containing the glass.  To calculate the number of dams I would need and their size, I did the following:

• Determined how I would use the pattern bars in finished work - this tells me the height of the dam
• Next I made a plan for how I would lay out the pattern bars on the shelf - this tells me how many dams I needs of each size 
• Then I made a plan of how I would cut up my kiln shelves.  Note: if you don't have a tile saw, you can go to a ceramics supply store and have them cut it for you or you can purchase dams from Bullseye, although this will get a little pricey.

It took me a while to cut up the kiln shelves as my rip guide broke and I needed to order another one from the manufacturer.  Cutting the shelves was like cutting butter - so easy compared to cutting up glass but also pretty messy as the ground ceramic was everywhere. 

 

Once the shelves are cut, the next step is to apply kiln wash to the dams, ideally on both sides.

I just loaded my first firing - 4 pattern bars.  It took A LOT longer than I anticipated.  Although I had already determined that my first round would contain blues and greens, it took me a while to cut the glass and figure out how I wanted to lay everything out - ideally, altering opaque and transparent glass.  I also had a problem with getting all the glass into the area for the pattern bar, so I think my pattern bars will end up thinner than I would like.  The way you're supposed to do it right is to figure out the ideal weight based on the size (which I did) but I couldn't physically get all the glass in the allotted space.  So next time, I will need to cut wider pieces and see if that works.

The glass just went into the kiln and the next post will share how they came out and show the additional bars (multi-colored) that I plan to make over the next couple of days.

360 Fusion: Year in Review; What's Ahead for 2012

This year, one of my goals was to use up my excess scrap (i.e. small pieces) glass. I fused enough glass to make 20 melts (pot melts, shelf melts and high temp melts) which made their way into plates and platters.

I also made frit, coaster sets and my window pendants as well as two new ornament designs (stars and snowflakes).

However, I didn't make as much of a dent as I wanted because as I was using up the smaller pieces, I was also creating additional scrap.  And, when you think about it, the scrap was created over four years so it's probably unlikely that I will use it up in one.  So next year, I'll still continue to look for ways to use up my excess glass.

There's also a couple of things that I did not get to this year that will be on the list to make for 2012.  Specifically, my fusing New Year "resolutions" are as follows:

• Create pattern bars and use them in plates, platters and panels
• Experiment with bowls using high temp shelf melts, frit and small glass pieces
• Make small plates from pot melt centers
• Create dichroic frit and consider using it to decorate boxes
• Expand into new types of jewelry: wire-wrapped almond shaped pendants, wire-wrapped coiled pendants with gemstones, stretch and charm bracelets, rings, and new earring designs
• Experiment with new holiday ornaments (hearts and a new snowflake design)

My favorite part of fusing is create new designs.  As you can tell, I already have in mind everything new that I'll make for 2012, including next year's ornaments!  Often, I have the design created long before I am able to make it, which is why I might not get to something.  The first part of the year is mainly for experimenting and creating while the rest of the tends to be production focused.  I'll keep you posted as I start making these.  Pattern bars are scheduled for next week after I cut up some kiln shelves to make the dams.

In the meantime, best wishes for a blessed 2012!