2014-2015 Directory to Industry Supplies

Transcription

For the Creative Professional Working in Hot, Warm, and Cold Glass
$7.00 U.S. $8.00 Canada
Volume 29 Number 5
www.GlassArtMagazine.com
September/October 2014
2014-2015
Directory to Industry Supplies
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Showcasing
the artwork of
Kate McKinnon, MO
www.katemckinnon.com
Fire Mountain Gems
and Beads© 2014
Pro Series
Artist Patty Gray demonstrating
Combing at Pacific Artglass in
Gardena, CA.
The Artist
Patty Gray was introduced to glass blowing in
1973. She and her husband built their first glassblowing studio in 1975. Together they have been
producing architectural fused/cast glasswork
for installations in major hotels, public buildings
,and private residences for over ten years. Patty
is constantly on the road sharing her knowledge
of fusing in workshops all over the world. To see
more of Patty’s work visit:
www.pattygray.com
Combing
Combing is a technique used to distort patterns
in molten glass for interesting effects. Typically a
tile is made of fused, varied-color strips of glass
and heated to a point where it is soft enough to
“comb” with stainless steel rods. The piece can
then be blown into a vessel using a process called
“a pick up” like the piece shown here. For more
information on combing visit:
www.glasskilns.com/proseries/combing
The Kiln
The GM22CS commonly referred to
as “The Clamshell”
is particularly well
suited for combing
because of it’s easy
access design and the
fact that a tilt switch
cuts the power to the
elements whenever
the lid is opened to prevent electrical shock.
For more information on the GM22CS visit our
website at:
www.glasskilns.com
6
Letter from the Editor
Mapping Your Glass Destination
by Shawn Waggoner
8
Independent Artist
Why Copper Foil?
by John C. Emery, Sr., Preston Studios
12
SAMA News
Expressing Oneself in Mosaics
by Gwyn Kaitis
14
Art Glass Studio Profile
Hallie Monroe
Messages from the Natural World
Conveyed through Painted Glass
by Shawn Waggoner
September/October 2014
24
46
18
AGG News
2014 American Glass Guild Awards
by Tony Glander, Patrice Schelkun, and Nancy Gong
20
Educational Glass
Dennis Brady
A Curious and Generous Glass Educator
by Colleen Bryan
Volume 29, Number 5
2014–2015 Directory of Industry Supplies
SGAA News
SGAA Artists’ Retreat at The Elms
48
Warm Glass Studio Profile
The Art of Commissions
by Gil Reynolds
54
Pioneers in Glass
Charles Correll, King of Recuperation
by Shawn Waggoner
58
Marketing
The Importance of Relevant Key Words
by Mark Veit
6 0
What’s New
Featuring the latest in books and products
for the glass enthusiast
by Darlene Welch
62
Advertisers’ Index
Above: Chinese Junk by Dennis Brady.
Photo by Jason Brady.
On the cover: Nine Crows by Hallie Monroe.
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Glass Art TM • September/October 2014 • 5
Glass Art
Volume 29, Number 5
Publisher ~ Maureen James
Editor ~Shawn Waggoner
Copy Editor ~ Darlene Welch
Accounting ~ Rhonda Sewell
Circulation Manager ~ Kathy Gentry
Advertising ~ Maureen James
Graphic Artists ~ Dave Burnett
Mark Waterbury
Contributing Artists and Writers
Colleen Bryan, John C. Emery, Sr.
Tony Glander, Nancy Gong
Gwyn Kaitis, Gil Reynolds
Patrice Schelkun, Mark Veit
Shawn Waggoner, Darlene Welch
Glass Art™
ISSN 1068-2147 is published bimonthly
by Glass Patterns Quarterly, Inc.
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management, or its advertisers.
Letter from the Editor
Mapping Your Glass Destination
This fall edition of Glass Art continues the magazine’s long-standing tradition of providing comprehensive coverage of cold, warm, and hot glass. From
the beautiful stained glass works of Hallie Monroe and
Preston Studios to the work of the king of recuperation,
Charles Correll, the gamut of glass possibilities are
explored. Gil Reynolds shares his recent kiln worked
commission, and Dennis Brady discusses his philosophy and approach to glass education.
In addition to Glass Art’s inspirational and informative content, you’ll find the annual
Directory of Industry Supplies. This indispensable tool, available in print and online, offers the perfect way for artists, retailers, and suppliers to connect and make the buying and
selling process mutually beneficial. These comprehensive, alphabetical listings provide
addresses, phone and fax numbers, contact names, products and services available, and
brief comments from each glass art supplier.
Clubs and organizations are always looking for glass talent to share ideas, inspiration,
and information with members. With that in mind, Glass Patterns Quarterly and Glass Art
are pleased to introduce the Master Glass Artisan Lecture Series™. These once-a-month,
one-hour lectures will provide professional PowerPoint demonstrations similar to those
seen at glass conferences. They will also include a “live chat” format like the one used in
our Glass Expert Webinars™ that allows the artist to answer real questions from actual
participants.
On September 23, Joe Porcelli returns with his popular Cutting Class Webinar. Learn to
cut glass like a pro with Porcelli’s step-by-step instruction. He will cover everything from
choosing the right glass cutter to working with different types of art glass. For a listing of
upcoming 2014–2015 Lectures and Webinars, click on the Glass Expert Webinar™ link
in the “What’s New” section at www.glassartmagazine.com.
For our subscribers only, keep an eye out for your Subscriber Benefits, which will
include articles on the Glass Craft and Bead Expo’s Gallery of Excellence winners, Hallie
Monroe’s liturgical stained glass, Dennis Brady’s insights on the ever-changing market for
glass art, and technical information from Charles Correll about recuperation and insulation.
Providing points on the map for your glass destination,
Shawn Waggoner
Editor
Angelscape by Gil Reynolds
November/December 2014
Ad Closing
Ad Materials
Issue Mails
Deadlines for Advertising
January/February 2015
September 20, 2014
September 30, 2014
October 24, 2014
Ad Closing
Ad Materials
Issue Mails
November 20, 2014
November 30, 2014
December 28, 2014
Independent Artist
Why Copper Foil?
by John C. Emery, Sr., Preston Studios
Photography by Bill Kilborn
I
was recently privileged to attend the American Glass Guild (AGG)
May 2013 convention in St. Augustine, Florida, where I had a
delightful time renewing old acquaintances, making new ones, and
enjoying the beautiful glass art. I was also privileged to be one of
the artists to share with the AGG attendees. While I was giving my
PowerPoint presentation, which was going off fairly well, I remarked
that every piece of glass artwork that I was showing was created by
Preston Studios using only the copper foil technique. Suddenly it
seemed like all the air went out of the room, and one person even
yelled out loud—“Why?” It was an amusing moment.
In a room full of traditionalists, that statement almost seemed like
heresy, but Preston Studios has never used lead came in its 38-year
history. Everything shown in the e-books from Wardell Publications about Preston Studios—Windows of Enduring Beauty (2002),
Windows of Enduring Color (2008), and the upcoming release of
Windows for the 21st Century—has been created exclusively in
copper foil. This includes hundreds of entrances, large expanse installations in private homes and churches, and many more intimate
windows. The reason for using only copper foil can all be explained
from how Preston Studios started back in 1976.
Creating New Work in the Tiffany Style
The studio began creating lamps after the manner of Tiffany,
but they were all new and original in design. Preston Studios never
created a Tiffany reproduction. Instead, we concentrated on devising
our own original designs from the get-go. This has resulted in a body
of work in lamps numbering in the hundreds, with a few collectors
having as many as nine at a time. The studio, even today, continues
to create new work in this style, with one of our more spectacular
Iris lamps auctioned off in September 2013 as part of a fundraiser
at the Hearst Castle in California.
Wardell Publications premiered the first digital e-book in stained
glass, Lamps for the 21st Century, in 2012 at Timothy’s in Winter
Park, Florida, just steps from the famous Morse Museum. This book
about the lamps of Preston Studios has 14 embedded videos in it
showing Jerry Preston and me at work creating these beautiful lamps.
Our upcoming e-book from Wardell, Windows for the 21st
Century, will illustrate the Preston process in creating windows
using the copper foil technique. It also lushly shows newer works
for entrances, baths, accents, and hospital chapels. The primary
center-point illustration of process, however, deals with a very major
private residential commission in Bella Collina, Orlando, Florida.
Enter the Dannbauer Project
The Dannbauer project involved three windows 7 feet tall by
4 feet wide, plus two smaller pieces approximately 5 feet tall by 2
feet wide. Depictions of famous people and events, from a monk
and a scholar creating handwritten manuscripts to the advent of the
printing press, are intended to give the feeling of history as related
to the written word. The home owners are European, so the entire
look of the project is also meant to give a sense of the High Baroque.
When working at this scale, numerous issues have to be confronted, not only artistically for design, but structurally as well.
One of the very first elemental structural realities of all Preston
installations is that our art glass is mounted to the inside of and flush
against existing exterior windows. This means that all code requirements in a state that must be strict due to hurricane issues are met
by the exterior glass fixture, and the art glass is merely a decorative
added feature, held in place by trim. With no air space between the
art glass and the exterior glass, there is no issue of fogging, and all
of the windows are sized with at least an eighth of an inch of space
all around to allow for expansion and contraction daily.
This essential principle was applied to the Dannbauer project
and is shown in six videos that were originally produced to keep the
client informed of progress on the windows. They will be placed
inside the upcoming Wardell e-book. From initial sketch, cutting
the glass, painting, and firing to foiling, soldering, and installation—every facet can be seen in video form.
Preston Studios, Tromp L’Oeil Bookshelves,
small stained glass window panels on either
side of the fireplace, 2013.
Preston Studios, a view of the three large windows and one
of the smaller windows as seen from inside the room.
The project took seven months to complete and was somewhat
of a collaborative undertaking. Almost all of it had to be painted
and fired by Stanley Klopfenstine, who did a brilliant job with all
of the painting and firing at his studio in Cocoa Beach, Florida.
The three 7-foot by 4-foot windows that now span the length of
one wall in the room where the project was installed provide the
mainstay of this commission. The middle window, which features
the Gutenberg press, has an architectural flourish at the top that
was taken directly from a cast stone installation over the portico at
the front of the residence. Our original addition there was to place
something in the oval at the top of the window—in this case a
stylized “RD” for the initials of home owner Robert Dannbauer in
a mirror image so that it reads correctly from the inside as well as
the outside. All of the figures and the press shown in the Gutenberg
window come from various resources. The colorful man seated to
the left is actually Dannbauer, who worked in a print shop himself
when he was a teenager.
The two smaller side windows, Tromp L’Oeil Bookshelves, live
on either side of the fireplace and reveal a couple of surprises. When
examined closely, the viewer will notice that on the fourth shelf
down of the right panel there is a pink book spine with a clearly
legible title. This serves as Preston Studios’ signature for the project,
the title from our upcoming e-book. Klopfenstine’s signature, the
title of his educational DVD Stained Glass Painting The Stanley K
Way, is on the teal-colored book spine to the immediate left of the
Preston title.
All of the glass art created for this commission was highly personalized to the client. When it was finished and the five windows
are viewed together in the same quarters, they totally transform this
single room into a truly spectacular space.
Jerry Preston and John C. Emery, Sr., Owners
Preston Studios
552 South Magnolia Avenue
Melbourne, Florida 32935-6438
(321) 259-0044
© Copyright 2014 by Glass Art.
All rights reserved.
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No retail sales
No online competition
Experience the difference
Nancy Weisser
www.edhoy.com
educate. lead. inspire.
SAMA News
Featuring the latest from the
Society of American Mosaic Artists
Expressing Oneself
in Mosaics
by Gwyn Kaitis
Photos Courtesy of the Society of American Mosaic Artists
S
AMA members were recently asked to tell why they use mosaic
as their chosen art form. Here are three different members’
stories.
Carole Choucair Oueijan,
Hacienda Heights, California
I grew up walking on and touching 3,000-year-old mosaic floors
and murals. I never thought that one day I’d be working with tiny
tesserae and these reflections from my childhood to create contemporary mosaic art. Mosaic fine art was not as well known 19 years
ago when I started mosaics as it is now. Today it is blooming, and
it’s a wonderful feeling to see it around us more often.
When I paint, I have an idea in mind and try to translate it onto
paper or canvas with my colors. But when I try to work with tesserae, I become a young child who’s trying to assemble all these
shapes and colors to create something exciting.
You are supposed to stand away from a painting to get the whole
picture and capture the feeling that the artist put into his or her work.
It’s the opposite in mosaic. You are drawn closer and sometimes
even tempted to try to touch what you see. You stare, admire, and
discover over and over again. Mosaic takes your eyes and emotions
on an artistic journey. The endless materials and creativity used in
contemporary mosaic make it the richest medium ever.
Carole Choucair Oueijan, Cerulean Rendezvous,
Mosaic Arts International 2014.
Shug Jones, Richardson, Texas
I have worked in many media over the years—graphite, ink,
colored pencil, oil, watercolor, and even scratchboard. They all
have their place in my repertoire of art supplies. Today, however, I
choose to use tactile materials such as glass, stone, porcelain, and
beads to make my art.
It is the textures and the colors that draw me in—the need to
create something that moves, converses with, and surprises the
viewer. I love the challenge of combining the colored tesserae in
such a way as to create a color entirely different, the process of gluing thousands of tiny pieces of glass to a surface that, when viewed
from a distance, becomes a realistic image.
Mosaic has broadened my view of what art is. It has given me
the desire to go beyond the two-dimensional surface and seek the
third dimension. It has opened my eyes to possibilities that I never
knew existed and abilities I never knew were there inside me.
Shug Jones, Coming into the Light,
Mosaic Arts International 2014.
Gary Drostle, Erith, Kent, United Kingdom
Mosaic is a medium that never ceases to amaze me. Just when
I think I have the measure of it or it can’t possibly hold any more,
some amazing new facet reveals itself.
I don’t think there is another medium like it. From that simple
cube, generating a pattern that is open and accessible to anyone—
young or old, no matter how limited their artistic ability—mosaic
seems to open its heart to all. There is definitely something very
primeval in a human’s ability and need to seek out pattern in our
lives, and mosaic is a great way to feed that need.
I also find great satisfaction in the combination of artistic and
aesthetic endeavor, together with the sheer physical force of mosaic
making—the breaking of tesserae, mixing cement, and pushing the
pieces in. Mosaic has a truth and balance built into its existence, the
balance of design and labor, and a truth in the direct way in which
the tesserae reveal that labor in all its myriad forms. As one fellow
mosaic artist whispered to me recently . . . mosaic is magic!
The Society of American Mosaic Artists, a nonprofit organization of over 900 members, is dedicated to educating, inspiring,
and promoting excellence in the mosaic arts. SAMA is the largest
mosaic art organization in the world and includes mosaic artists,
collectors, materials suppliers, and art educators. More information
about SAMA can be found at www.americanmosaics.org.
Art Glass Studio Profile
Hallie Monroe
Conveyed through Painted Glass
by Shawn Waggoner
I
n discussions about why stained glass has not found its
place in art galleries, lack of content in the work is cited as
a primary factor. This is closely followed by the challenges
of exhibiting an art form with an absolute dependence on
natural light. Hallie Monroe accepts the inherent limitations of
her medium and, with a masterful painter’s hand, blurs the lines
between art and craft in profound images of our vanishing natural
world. Her growing body of autonomous work urges us to notice,
to appreciate, and to preserve what we are destroying.
A graduate of the Pratt Institute with a BFA in Illustration,
Monroe has worked in ceramics, photography, and silk screen.
She founded Clear View Stained Glass Works in 1989 and, as its
sole proprietor, has completed many commissions for businesses
and residences as well as restoration work for churches and public
spaces. She freelances for other studios such as the Art of Glass
owned by Kathy Jordan in Media, Pennsylvania, and Conrad Pickel
Studios in Vero Beach, Florida, where she worked on one of the
biggest stained glass windows in the United States for Hendricks
Avenue Baptist Church in Jacksonville, Florida. For that commission she painted a massive Christ head that measured 24 inches tall.
In January 2010, Monroe went to work for Willet Hauser Architectural Glass, Inc., Philadelphia, Pennsylvania, as a full-time glass
painter. Willet Studios and the Hauser Art Glass Company merged
into what became one of the largest and most respected studios in
North America. The company was acquired in January 2014 by Associated Crafts of Gilbert, Arizona. At the moment, she is the sole
painter on three different major liturgical projects.
Monroe hones her expert painting skills through high-end liturgical commissions as well as continued education. The last two years
she attended weeklong glass painting workshops with Jonathan
Cooke at Swansea University in Wales and visited the stained glass
conservation departments at York and Lincoln. She is the recipient
of the American Glass Guild (AGG) Scholarship and also received
two grants from the Stained Glass Association of America (SGAA).
The 2009 SGAA Elskus Scholarship enabled her to take a 12-day
stained glass tour of southern France given by author and guide
David Wilde. “It truly was the trip of a lifetime, to see the diversity
of designs from medieval stained glass to abstract contemporary.
Of course, I was always observing the technical differences in
construction and painting.”
Hallie Monroe, Owl in the Birches,
18-1/2" x 30-1/4", vitreous paint on
stained glass with copper foil.
Commercial Illustrator Turned Glass Painter
In 1979 and 1980, Monroe’s high school art teacher arranged
for a couple of his students to serve a stained glass apprenticeship
at a local shop in Montclair, New Jersey. Monroe worked for the
business a few days after school and worked on her own projects
on Saturdays using their glass scraps and tools. Her parents, both
commercial print artists working from home, encouraged Monroe
to take life drawing classes at Montclair State University and silver
jewelry making at the local adult school.
When she began applying to art schools, Monroe was focused
on becoming a commercial illustrator and left stained glass behind.
Upon graduation from Pratt, she moved back to Montclair and
worked in a photo studio and a ceramic studio. She then created
store displays for Bamberger’s Department Store until she found a
job that paid more painting condominiums in Secaucus, New Jersey.
Monroe eventually hired on as a draftsperson doing layouts for a
silk screen company that printed decal signs for large trucks. “That
was before computer aided design, and all the work I did was done
old school with a typesetter, T-square, and triangles. The stat camera
took up two rooms.” Eventually she landed a job as a designer’s
assistant at Steuben Glass and worked in the company’s 5th Ave and
57th street offices designing store display and graphics for custom
orders. Monroe assisted the art director and designers Paul Schultz
and Bernard X. Wolf. Upon their retirement, she grew tired of the
commute and moved back to Montclair.
In the late 1980s, Monroe returned to stained glass and established a studio in the dirt-floor basement of her home. “I had done
a few residential projects and some windows for a bar. With the
wisdom of a 25-year-old, I thought I knew enough to start a business
and left Steuben. In hindsight, it would have been wiser to get a job
at another stained glass studio.” Six months later Monroe’s husband
got a job at a cabinet shop, and they moved to Southampton, New
York. Their new home had a small shed she used as a studio for
the next six years. “It had no heat, no sink, and lots of extension
cords running through it, but it did have a cement floor. I felt really
blessed to be able to work from home.”
The studio shed was demolished 18 years ago, and Monroe
was the architect and general
contractor for building a new
25-by-40-foot studio attached to the back of their house. She shares
the space with her husband who makes custom wood furniture and
window sash. From this home studio, Monroe has designed and
executed an impressive body of personal work.
The Nature of Monroe’s Panels
To begin autonomous work, Monroe researches her subject,
paints different forms and figures on glass from photos she’s taken
or drawn, and lays them out on her 4-by-8-foot light table. The images are much more spontaneous than those of her liturgical work. “I
rearrange them, edit them, and add new things until I come up with
a story that has good color balance and composition. Autonomous
panels are done for my own artistic pleasure. If they can be used
for a future gallery show that’s great, but my motivation to create
a panel is usually that selfish need for artistic expression and the
desire to try to make art.”
Oftentimes the glass informs Monroe’s composition. She stands
the sheets of glass around her studio, allowing color and texture to
interact with different light and inspire a design. Her most recent
autonomous work, Red Elephant, utilizes acid etching on “delicious”
Lamberts red flashed glass in a protest against the slaughter of these
animals for their ivory tusks. Silver stain was expertly applied to
produce a glowing effect used in combination with the angle of the
elephant charging to heighten the urgency of the message. Kokomo
Catspaw inspired and informed Owl in the Birches, exhibited in
AMERICAN GLASS NOW: 2014, AGG’s Annual Juried Show held
May through June 2014 at the Glencairn Museum in Bryn Athyn,
Pennsylvania. “That dappled green in the background so vividly
conveys sunlight in the forest.”
Hallie Monroe, Black Bird in the Dead of Night (left), 18" x 12",
vitreous paint on blue flashed glass; Red Elephant (center),
26" x 21", vitreous paint on stained glass; Sea Turtles (right),
20-1/2" x 10-3/8", sandblasted and plated vitreous painted
stained glass.
Nature panels don’t need to be really complicated, says Monroe. “I get the most feedback from some of my simplest designs.
Blackbird with Moon couldn’t be simpler, but it is the piece so
many people respond to.” This panel incorporates sandblasted blue
flashed glass in a background that features a matted and stippled
moon. The tree and bird were traced and fired in one firing. “I’ve
always been a tree hugger, and if I can manage to do something
half as beautiful as Mother Nature, I’m pleased.”
Semiphotorealistic portraits comprise a large percentage of both
her personal and liturgical painting. “It is a real challenge for me to
try to capture someone’s likeness.” With liturgical portraits, many
times there are no photographs to paint from. In those cases, Monroe
uses the same live model for all windows in a series to produce
consistency in the work. When painting a well-known character, the
challenge lies in making the image recognizable to the audience.
Monroe avoids titling her personal work, since she doesn’t
want to convey a specific message, but rather present images that
encourage viewers to tell their own stories. “The general public
usually likes to have artwork titled to give a starting point to understand what an artist is trying to say. I try to avoid this. I find
it more interesting when viewers come to their own conclusions
about my artistic intent.”
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Monroe exhibits her autonomous work at the Art of It Gallery, Jenkintown, Pennsylvania; Chrysalis Gallery, Southhampton, New York; AGG shows and auctions; her local nonprofit
East End Arts Council gallery; and the Southampton Artist
Group space. She says: “Just as important as knowing when a
piece is successful is knowing when it’s not. I can’t stress this
enough. Editing is important and not always easy for an artist
to do after spending a lot of time painting and exploring an image or technique. Let’s face it. There is a lot of work produced
not worthy of going into a frame. It is hard to chuck it and do
something different. Sometimes that edited piece will fit better
in another panel and will be used at a later date, or it is just a
visual memo of what not to do with a technique the next time.”
Bringing Nature to Life
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Monroe’s process and techniques are basically the same
whether creating personal work or painting for Willet Hauser.
To render her subjects, she relies upon Reusche vitreous paint,
Reusche or Fusemaster enamels, Cliff Oster or Reusche silver
stain, and mostly transparent glass such as Lamberts. For
autonomous panels, she works with lead came to produce a
more mechanical line or when structure is an issue and uses
copper foil when a more organic line quality is needed for a
nonarchitectural setting. “When you copper foil glass that has
been painted, it’s very hard to patina the solder lines without
affecting the paint, because the patina is an acid. I most often
work with lead and believe it is important to make your lead
work as beautiful as the glass you are painting.”
Determining whether to sandblast or acid etch, both techniques that Monroe employs, is a matter of desired surface
texture. “Sandblasted glass has an etched surface, a tooth. Acid
etching leaves the glass transparent where it eats through the
flash, and the remaining glass is more sparkly.”
Working on Willet windows, Monroe is unable to introduce
a new technique halfway through, since continuity of painting
style is paramount. “There may be a year and a half between
windows for the same project. That’s one of the biggest challenges—that I’m not working on just one project start to finish.
I also have to accommodate for the different light of various regions of the country or different styles of designers or churches.
In my autonomous panels, I am free of these concerns. I’m not
trying to please a client or stick to an approved design, but rather
creating to convey my image and message.”
Monroe’s desire to teach is inspired by those who taught
her. The artist has taken classes from stained and painted glass
greats that include Nicholas Parrendo, Dick Millard, Ken Leap,
Debora Coombs, and Jonathan Cooke at Swansea. In April 2014
she attended a workshop taught by Jim Berberich at the SGAA.
At St. Michael’s Institute of Sacred Art, Mystic, Connecticut,
Monroe met other mentors such as Jim Whitney, Kristi Lambrecht, and Kathy Jordan, among others. She returned many
times as a student, then assisted Jordan in teaching until 2006
when she taught Stained Glass I and II to her own students on
Mystic. She continued her class there through 2009 and the
following year taught Multilayer, One-Fire Glass Painting at
AGG’s Asheville, North Carolina, conference. She has been an
instructor at Amagansett Applied Art School, Guild Hall, and
several of the adult school programs in her area.
From September 22 through 26, 2014, Monroe will offer a painting
workshop at her Southampton, New York, studio. “The more I learn, the
more I see there is to learn. I always try to teach what I know to others
who are interested. I find that people look at stained glass windows with
a whole new appreciation once I have explained the complicated aspect
of their fabrication.”
In addition, she offers an apprenticeship to high school students much
like the one offered to her. “It helps them have a more diverse portfolio
than the average high school student when applying to college. It is
wonderful when you can watch them learning to see things in stained
glass and how to paint what they see.”
Creating New Audiences for Glass
Recently published in the book Creative Glass by Kracun & McFadden, Monroe’s work appeared alongside other stained glass talents
such as Judith Schaechter, Debora Coombs, and Jon Erickson. She will
continue to juggle full-time work at Willet Hauser with designing and
fabricating her own panels on the side. “I listen to National Public Radio
a lot while in my studio. Sometimes topical subjects influence my work,
which is the result of the illustrator in me wanting to express a conceptual
idea or story to viewers that will make them think.”
As she continues to volunteer and donate to the James Whitney
educational scholarship through the AGG auction, Monroe, like most
artists, hopes to have a number of incredible commissions and crowning achievements ahead in her career. “The public still thinks of stained
glass as church windows. Architects using stained glass windows in
ways outside of that definition and artists like myself showing in galleries so people can see the work outside of a church setting will build
new audiences for autonomous works in glass.”
Hallie Monroe, Middle East,
stained glass with lead came.
Look for Subscriber Benefits coming to Subscribers Only via links
in upcoming e-mails from Glass Art. This Bonus Content will include
additional information on Hallie Monroe’s liturgical projects for Willet
Hauser.
Hallie Monroe
[email protected]
Hallie Monroe, Woman in Turban,
stained glass with lead came.
Hallie Monroe, Butterfly Migration,
19-1/2" x 24", vitreous paint on stained
glass with lead came.
AGG News
2014 American Glass Guild Awards
Featuring the latest from the American Glass Guild
D
uring the June 2014 Conference in Bryn Athyn, Pennsylvania,
the American Glass Guild presented three awards to leaders in
the glass community. Narcissus Quagliata was presented with the
AGG Lifetime Achievement Award in Design. A youth program in
Philadelphia received the AGG Inspiration Award. Finally, Peter
McGrain was presented with the Joe Barnes Lifetime Achievement
Award. These AGG awards recognize the passion, dedication, and
mentoring the award recipients provide to the glass community.
Joe Barnes Lifetime Achievement Award
by Tony Glander
The guidelines for the Joe Barnes Lifetime Achievement Award
are based on its namesake’s love of working with glass, friendliness
toward others, desire to help others succeed, and a rare quality of
simply being a good person. Kathy Jordon recognized all of those
in Peter McGrain, thereby nominating him for the award.
McGrain has been in the glass industry for over 35 years. His
love of glass art has compelled him in the making of many of today’s
landmark pieces known throughout the industry. This love has also
made him an incredible instructor and mentor to many students,
and he has been sought after as an author for countless articles on
countless techniques. His dedication to the medium is evident in
every piece he creates.
What this award mainly focuses on, however, is the nominee’s
general good nature and willingness to help others, and this is
where McGrain excels. His students, many of whom have never
even painted before, leave his workshops with a can-do attitude.
McGrain’s love and enjoyment of glass shines through his teaching
and how he truly wants his students to go home and continue to
create pieces and improve their skills.
In his workshops, his goal is for the student to succeed. He encourages them to quit doubting themselves and enjoy the creative
spirit. And he does it all with a smile, an
unwavering sense of humor, and pure
sincerity. Although he couldn’t attend the
conference, his video recorded acceptance speech was a testimony to his good
nature, humbleness, and musical talent.
American Glass Guild Inspiration Award
by Patrice Schelkun
At a luncheon on Sunday, June 29, 2014, the American Glass
Guild gave a newly created Inspiration Award to the co-founders
of a Philadelphia-based youth outreach program called The Stained
Glass Project. In recognition of the hard work done by everyone
involved in the program, Evenheat Kilns generously donated a kiln
to help move the group’s work forward.
The Stained Glass Project was organized by professional artists
Paula Mandel and Joan Myerson Shrager in an effort to enrich the
lives of inner city high school children by introducing them to the
art and craft of stained glass. The after-school program, which meets
from October to June, is in its eighth year. It has given dozens of
kids the chance to experience many things they otherwise might
not have—affirmation and encouragement in a family-type setting,
exposure to art venues and travel, and the experience of reaching
out to others with their own creative gifts.
As the program has grown with the help of donors and volunteers,
these children have had the opportunity to make and donate windows
for schools in KwaNgcolosi, South Africa; New Orleans, Louisiana;
and Minnesota. Some were even able to hand-deliver their creations
during a group travel experience they will not soon forget.
“I think it really gave the kids a sense of being in a position to
gift others with their hard work and their creativity,” said Mandel.
Before the windows were shipped, they were exhibited at Love
Park in Philadelphia, Pennsylvania, and at a special reception at the
Philadelphia Visitors Center. Shrager shared that such an experience
Peter McGrain playing
a Stroh violinophone.
Members of The Stained Glass
Project at the Pennsylvania Academy of the Fine Arts, Philadelphia.
Photo by Joan Myerson Shrager.
made the children feel that, “Wow! Look what I’ve done. Look
what I can contribute!”
Mandel, Shrager, and representatives from The Stained Glass
Project accepted the AGG award with gratitude. “You know how
magical glass is,” said Mandel. “In this setting, the glass is just a
back door to mentoring.”
American Glass Guild’s Lifetime Achievement
Award in Design
by Nancy Gong
Narcissus Quagliata receiving the 2014 Lifetime
Achievement Award in Design from Nancy Gong and
AGG President J. Kenneth Leap. Photo by Tony Glander.
Closing Thoughts
The American Glass Guild is proud to recognize these leaders
Narcissus Quagliata has had a profound effect on many artists
in
our
glass community. Their art work will go on for many years
and the field of architectural glass. From early in his career, his
to
be
seen
and admired by many. But more importantly, it is how
unique vision has flowed from his paintings to glass artwork in a
they
have
impacted
the lives of others through their dedication and
powerful way. He has taken figures in glass to a whole new realm.
mentoring.
While most artists were content with creating beauty in glass,
Quagliata portrayed pain and anguish with beauty that touched the
Visit www.americanglassguild.org to learn more about AGG
heart. He brought color and the brush to glass in an explosive manand
its upcoming events.
ner in a way that allowed him to bring fresh work in a “new light”
to a classical basilica in the Dome of Santa Maria Degli Andeli e
dei Martiri in Rome, Italy. Taking the basic Asian design theme,
During the writing of this article, AGG was saddened to
yin and yang, he also presented light and darkness in terms of the
learn of Joe Barnes’ passing earlier this year. His warm smile
meaning of life in a brilliant way for the massive Dome of Light for
and good nature will live on and hopefully be passed on by all
the Kaohsiung Rapid Transit Station. Venturing into various modes
those who had the good fortune to meet him.
of hot glass, he has not hesitated to integrate these processes with
architectural glass designs. He is, on the outside, fearless in the
approach to his designs.
Since the mid-1970s when Quagliata
taught design, he has encouraged artists to
see within rather than rely solely on what
was outside their souls. Then he cuts the
cord and lets his students fly. To this end,
he has helped guide many artists in creating
art that exemplifies who they and their spirits are, adding to the realm of vernacular,
traditional, and ecclesiastic stained glass.
He has helped to shape a generation and a
whole new vocabulary in glass art.
Quagliata shares his knowledge of
design through his books, distributed
worldwide, to encourage well-thought-out
original motifs in the world of architectural
art glass. His techniques are available in
two important books: Stained Glass from
Mind to Light, which he authored, and Narcisuss Quagliata: Archetypes and Visions in
Light and Glass, where he leads by sharing
his exciting projects.
In presenting the Lifetime Achievement
Award in Design to Quagliata, the AGG
Stan Price, Covenant Art Glass of Everett, Washington, asked Olympic Kilns to create a custom bell
is simply professing the passion and allkiln so that he could create larger commission pieces. Working with Stan, Olympic Kilns designed
consuming commitment this artist has for
a 29 cubic foot bell kiln (electronic lifting chamber) with a rollout floor. Stan thinks big, and now he
his work in glass. No doubt, he is a living
can create big! Learn more about Stan at www.covenantartglass.com.
master. One look at his designs and the
See what Olympic Kilns can do for you!
viewer will experience why this great artist’s work, through heart, mind, soul, and
Phone 800.241.4400 / 770.967.4009 • www.greatkilns.com
skill, has the great power to connect with
the human spirit.
Stan dreams big ...
Stan thinks big ...
Now, Stan can create BIG!
Educational Glass
Dennis Brady
A Curious and Generous Glass Educator
by Colleen Bryan
O
f all his many skills, Dennis Brady from
Victoria, British Columbia, is least good at
retirement. A full decade after his website asserts
that he is supposed to have retired, the energetic
Brady highlights the configuration of the family
businesses and zeroes in on his current passion for
glass education. He has dabbled in art throughout
his life, paying for his university education by
doing caricatures, and he credits acquired skill
more than innate talent for most of his artistic success. “Every kid draws. Some stop; some don’t. I
dabbled in sculpture, carving, and painting. I love
glass, because it is a very physical and scientific
art form. I’m fascinated by the physics of glass.”
The artist started his adventures in stained glass
while helping his eldest son Brant with a school art
project. “He asked me to help him draw patterns,
and I quickly discovered that just because you can
draw a design doesn’t mean the solder will hold
that design together.” Lured to glass in pursuit of
a practical solution, the father saw an opportunity
to teach his son how to create a business. Thus
was born DeBrady Glassworks, which means “of
the Bradys.” When Brant died in a car accident
a few years later, Dennis sank into glasswork as
a refuge. Now his two younger sons Dane and
Jason have emerged as owners and operators of
the family business.
Photography by Jason Brady
Dennis Brady,
Virginia Clipper
stained glass model,
24" high x 24" wide.
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Eric Markow (left) and Thom Norris (right) with their Paragon Pearl-56. Eric and Thom spent several years developing the woven glass technique shown above. Photo by Marni Harker.
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Eric and Thom fire their glass in nine
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our testing, and have actually cooked
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Autumn Sunset Kimono by Markow & Norris. The partners fire their glass in Paragon kilns. Photo by Javier
Agostinelli.
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800-876-4328 / 972-288-7557
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www.paragonweb.com
[email protected]
Four Lines of Business
In all, Brady’s family runs four separate businesses, which at
one time employed 16 people in production. Now only Dennis and
his two sons remain. DeBrady Glassworks, the primary enterprise,
sells finished glass art and specializes in large, intricate stained
glass model ships that sell through galleries and fine art shows
across North America. The company also does a fair amount of
commission work.
Brady’s team also designs, prototypes, and tests steel molds and
tools for glass weaving, screen melts, and similar glasswork under
the brand name Master Artisan. They contract with a manufacturer
to fabricate the tools, which then come back to Victorian Art Glass
for distribution.
Victorian Art Glass was created to sell supplies and tools. The
impetus behind it was the observation that professional artisans
were not getting a discount from any level in the supply chain. “I
always thought that was a poor situation, so I set out to provide full
wholesale pricing to professional artisans.” Brady created Victorian
Art Glass with the motto: “Helping aspiring artisans establish – and
established artisans expand.” Eighty percent of the business takes
place over the Internet. The company recently even shipped an order
to Russia. “We will ship to anywhere on earth,” Brady quips, “but
off-planet only by special order.”
Glass Campus is the latest of Brady’s enterprises, a free educational resource for aspiring glass artists. He remembers the guild-like
secrecy he encountered when he decided to work professionally in
glass and wants to honor those who helped him pierce
that secrecy. His Glass Campus website
links to 150 technical video and
educational clips and is an
ongoing growth
project.
Letting Curiosity Lead
After beginning his exploration in stained glass, Brady has migrated to warm, sandblasted, torchworked, cast, and blown glass.
“If there’s anything I’m not playing with, it is because I haven’t
heard of it yet,” Brady boasts. Currently he experiments with silk
screening and ways to set up a glassblowing operation with nothing
more than a pottery kiln and a big torch. “I’d like to make furnaces
obsolete.” He takes pleasure from turning his experimentation into
the education of others.
Brady is convinced that more people from around the world are
becoming interested in glass and realizing greater success with it.
He points to the many people who come to the Las Vegas, Nevada,
Glass Craft & Bead Expo as evidence of a huge and steadily growing
interest in glass arts. This rapidly expanding interest in glass has
created a need for more and better teaching, both in the technical
aspects of the trade and in its business implications.
A gifted teacher, Brady conducts Glass Expert Webinars™ for
Glass Art’s sister publication, Glass Patterns Quarterly. He also
hosts YouTube videos, offers an extensive library of tutorials on
his Glass Campus website, and maintains an informational Glass
Campus Facebook page. Brady is most interested in teaching at his
home studio. Still, he manages a growing schedule of international
workshop engagements. He works with young people through different colleges and universities to help them understand that arts
and crafts can be legitimate avenues for business pursuits.
Dennis Brady,
Blue Pinwheel,
15" fused glass bowl.
Continued on page 42
Toland
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His Glassworks, Inc. 2000 Riverside Drive, Suite 19 Asheville, NC 28804
828-254-2559 • 800-914-7463 • hisglassworks.com
Kleen Master Sinks™
Specially designed sinks for everyone in the art glass trade.
These sinks are made of 3/8"-thick polypropylene to ensure durability. The 1" threaded drain is welded on the bottom and is easily
installed to common plumbing. All sinks include high-tech pullout
faucets and white 1" x 1" steel welded legs, and 8 bolts and 8 nuts
make for easy assembly. The sinks come in ready-made 24" x 36",
36" x 48", and 48" x 60" sizes, or you can special order custom
sizes. Optional equipment to supplement the sinks, including a
fibergrate are also available with optional rubber feet, vertical
window supports, a roll-away overhead crane, and 1/2" shelf.
www.kleenmastersinks.com
Mark-34 Medium 3' x 4'
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1GLASS
IMPRESSIONS™
How to Use
The 2014–2015
DIRECTORY OF INDUSTRY SUPPLIES
Keep this Directory handy! Our 2014–2015 DIRECTORY OF INDUSTRY SUPPLIES is
dedicated to making the buying and selling process between artists/retailers and suppliers
mutually beneficial by providing glass artists with new sources of supplies and glass suppliers with new prospects and customers. We urge you to consider this your source for
virtually everything you need to operate your business. The companies listed in the Directory are in business to serve you. Give them an opportunity to prove how good they are.
The 2014–2015
DIRECTORY OF INDUSTRY SUPPLIES
consists of two sections:
COMPANY LISTINGS.......... 25
These comprehensive, alphabetical listings provide address, phone number, toll-free (800)
number, fax number, Web address, e-mail, contact person, products or services available,
product trade names, and brief comments for each glass art supplier. Some suppliers
chose not to have all the information printed. Each listing includes all of the pertinent
data submitted by the supplier.
PRODUCTS AND SERVICES.......... 32
The products and services are listed alphabetically by state, and as an extra convenience,
the suppliers of these products and services are listed alphabetically by state. For example,
if you live in California and would like to purchase pliers, simply find the category titled
“Pliers” and look for California suppliers who carry them. Some categories are divided
into subheadings, so you can quickly and accurately pinpoint the listing you need. Refer
to the company listings section for detailed information on each supplier.
Paperweights by Victor Trabucco
www.paperweight.tv
1 GLASS IMPRESSIONS
PO Box 8521
Janesville, WI 53547
920-382-1807
WEB: www.1GlassImpressions.com
www.kleenmastersinks.com
EMAIL: [email protected]
CONTACT: Richard Snyder
PRODUCTS OR SERVICES:
New studio-size fresh air purification
system. Tools: Angle Lead Shears
and replacement blades in five-pack.
EZ Trace and Cut - Pattern transfer
material, Candle Lantern Kit for
beginners, Stained Glass Clock Dials three sizes in three colors of glass,
and Kleen Master Sinks. More Kits in
finished pieces - oak key hide, mission
oak hat and coat rack kit, mosaic
foldaway table, and mosaic step stool.
Stays Black Patina for Zinc - The Name
Says It All.
BRIEF ADDITIONAL COMMENTS:
Kleen Master Sinks custom built for
washing and rinsing stained glass
windows, panels, and lamp shades.
Also can acid-etch right in the sink,
and it will not stain or harm the sink.
Three sizes to choose from. Optional
equipment for sinks, work surfaces, or
lighted work surface for all sinks.
PRODUCT TRADE NAMES:
Kleen Master Sinks™, Angle Lead
Shear™, EZ Trace and Cut™, Candle
Lantern Kit™, Stained Glass Clock
Dials™, Mission Oak Hat and Coat
Rack Kit™, Mission Lantern Kit™, Oak
Key Hide Kit™, Mosaic Foldaway Oak
Table™, Mosaic Oak Step Stool™,
1LED Lighting™, Stays Defusing
Displays™, Back-Lit LED Light
Panels™ 12"x12", 8"x8",
6"x6", and custom sizes, LED Ring
of Light™, LED L-Channel™, LED
Framing Channel™, 1 EZ Dip Dipping
Trays™, Custom-made LED lighting
just for your application.
A SANBORN CORPORATION
PO Box 86747
Madeira Beach, FL 33738
727-397-3073
FAX NUMBER: 866-814-0525
WEB: www.asanborn.com
CONTACT: Ann Sanborn
A SANBORN CORPORATION: A
green company that services small
businesses and glass artists. We
provide two main services: a full
complement of Internet development
and marketing services and a line
of innovative precut glass and
embellishment products that produce
unique kiln fired artwork. At the core
of all products and services is a focus
on educating clients in best practices,
instructions, and/or tools to make them
successful in reaching their goals.
SANBORNWEBDESIGNS.COM:
Provides websites and shopping
carts that only require click-and-point
skill levels and give the customer full
content and image management.
GLASSARTPATTERNS.COM:
Provides a full line of glass products
and art glass education with written
instructions, Tips and Tricks, and over
600 free projects with finished artwork
images and step-by-step instructions.
GLASSART.BIZ: Provides free Internet
marketing for the Glass Arts.
Glassartpatterns.com is currently
offering a full product line, made in the
USA, with 100+ precut glass designs in
COE 90 & 96; 200+ Fusible Decals in
color, black & white, and metallics; 20
colors of Dicro Dazzlers; a full line of 30
colored and metallic lead-free enamel
paints; a full line of Bubble Paints; 20
Dicro Decal Designs; and a unique line
of findings and acessories with glue-on
pads. Sanbornwebdesigns.com
is currently offering eco friendly
Web hosting (100% wind power)
and shopping carts that are PCI and
PADSS compliant.
Asanborn.com, Sanbornwebdesigns.com,
Glassartpatterns.com, Glassart.biz,
Dicro Decal Designs, Dichroic Dazzlers.
AAE GLASS
1228 Lafayette St.
Cape Coral, FL 33904
239-471-7724
WEB: www.aaeglass.com
CONTACT: Tanya Veit
Wholesale accounts, Bullseye Glass,
CBS Dichroic Glass, fused glass
decals, silver jewelry settings, Olympic
Kilns, Gemini Saws, Covington Lap
Wheels, instructional DVDs, classes &
workshops.
AAE Glass is owned and operated by
Tanya Veit, a self-taught fused glass
artist. Tanya generously shares all of
her glass fusing techniques in various
workshops and classes. AAE Glass is
the leader in fused glass decals, both
black/white and large/small.
AAE Glass.
AANRAKU STAINED GLASS
AANRAKU GLASS STUDIOS
41 S Railroad Ave
San Mateo, CA 94401-3209
650-372-0527
FAX NUMBER: 650-372-0566
WEB: www.abasg.com
CONTACT: Jeffrey Castaline
Pattern books, grinder bits, pattern
shears, jewelry bails, belt buckle
blanks, lead and glass stop blocks,
glass grippers, foil burnishers, bottle
stoppers for beads and fused glass,
wall-mounting devices, pendant plates,
and pattern design services.
Teaching studio for stained glass, fused
glass, and lampworking. Full-service
repair and restoration studio, full-service
retail.
Aanraku, Twofers, Thinline, Tracker,
Nick’s Grinder Mate.
AMERICAN GLASS SUPPLY
COMPANY
2442 Ludelle St
Fort Worth, TX 76105
817-535-2651
866-535-2651
FAX NUMBER: 817-536-7120
WEB: www.AmericanGlassSupply.com
CONTACT: Pat Conner or
Connie Speer
Glass equipment and supplies, kilns,
tools, sheet glass, molds, kits, and
packages.
Glass fusing classes and workshops.
Consulting programs.
AMERICAN HAKKO PRODUCTS
28920 Ave Williams
Valencia, CA 91355
661-294-0090
800-884-2556
FAX NUMBER: 661-294-0096
WEB: www.hakkousa.com
CONTACT: Rick Richards
Soldering Irons, Tips, Tip Cleaners,
Smoke and Fume Extraction Systems.
Hakko FX-601 Soldering Iron, 599B Tip
Cleaner, FS-100 Tip Polishing Paste.
ANGELGILDING.COM
619 Clarence Ave
Oak Park, IL 60304
708-383-3340
866-341-3340
FAX NUMBER: 708-383-9059
WEB: www.angelgilding.com
CONTACT: Sarah King
Supplies and tools to mirror glass.
We have supplies to create silver, gold,
copper, or galena mirrors.
Angel Gilding.
ARMOUR PRODUCTS
176-180 5th Ave
Hawthorne, NJ 07506
973-427-8787
FAX NUMBER: 973-427-8823
WEB: www.etchworld.com
CONTACT: Sydney St. James
Glass etching and mirror decorating
kits, stencils, and supplies.
Armour Etch, Rub `N’ Etch, Peel ‘N’
Etch, Sand Etch, Inflate ‘A’ Booth, Over
‘N’ Over Stencils, and custom-made
stencils.
ARTISANS
1440 W 52nd Ave
Denver, CO 80221
303-777-5177
800-525-9008
FAX NUMBER: 303-777-0161
WEB: www.artisanssupply.com
CONTACT: Scott Childress or
Glynnis O’Connell
Artisans is a full-line wholesale
distributor serving the professional
retailer, artist, glass crafter, studio,
manufacturer, and distributor since
1974. Artisans stocks everything you
need for traditional stained glass, glass
fusing, lampworking, beadmaking,
jewelry, glass painting, mosaics,
and more. Our inventory includes
thousands of sheets from more than
20 glass manufacturers and everything
you need in tools and supplies.
Artisans is an industry leader providing
quality service for 33 years. Dedicated
to meeting the needs of your business.
Easy online ordering available.
Complete export services.
Choice™ hand tools, Choice™ bevels,
Choice™ bevel clusters, Choice™ glue
chip glass, Choice™ solder.
ARTIST’S RELIABLE TOOL
COMPANY A.R.T.C.O.
348 N 15th St
San Jose, CA 95112
408-288-7978
FAX NUMBER: 408-288-7832
WEB: www.artcoinc.com
CONTACT: Malcolm Spann
Glassblowing and casting tools and
supplies. Mold making materials, books
and videos.
AUSTIN THIN FILMS
16813 Radholme Ct Bldg B
Round Rock, TX 78664
512-246-1122
800-268-6163
FAX NUMBER: 512-246-1133
WEB: www.dichro.com
CONTACT: Glenn Brown
Dichroic glass, sheets, rods, stringers,
noodles, frit, tie-dye patterns, coated
patterns, laser etching, scrap, all COEs.
State-of-the-art dichroic glass.
DichroMagic®, DichroMosaic.
B & B ETCHALL PRODUCTS, INC.
PO Box 1415
Sun City, AZ 85372
623-933-4567
FAX NUMBER: 623-815-9095
WEB: www.etchall.com
CONTACT: Barbara C. Bosler
Etchall Crème; Etchall Dip ‘n Etch;
Etchall Resist Gel; Etchall Kits; Etchall
Etchmask Vinyl; Etchall Transfer
Sheets; Etchall Stencils; Personalized
Stencils.
Chemical etch, permanent, works on
glass, mirror, marble, slate, china,
gemstones, and beads. Large areas as
well as small - safe and easy to use Reusable!! We do - You do!
Etchall®.
BEAR PAW STUDIOS
150 Shippenport Road Unit “I”
Landing, NJ 07843
862-803-9033
FAX NUMBER: 862-803-9034
WEB: www.BearPawStudios.net
CONTACT: Brett Williams
Custom Art Glass; Torchwork, Kiln Work,
Cold Work, Workshops, Studio Rentals;
Glass Supplies, Tools, and Equipment.
We are an authorized reseller for
Buyllseye Glass products and Carlisle
Machine Works torches. Hoping to add
Paragon Kilns soon as well.
BENDHEIM
61 Willett St., Bldg J
Passaic, NJ 07055
973-471-1733
800-221-7379
FAX NUMBER: 973-471-1640
WEB: www.bendheimstainedglass.com
CONTACT: Jen Miret
Bendheim offers the most extensive
line of colored glass in the stained
glass industry, now available to
registered wholesale customers online
at www.bendheimartglass.com.
Bendheim is proud to be the exclusive
importer of Lamberts mouth-blown art
glass and Restoration Glass.
Lamberts; Restoration Glass; Schott
(Desag); Bullseye; Kokomo; Oceana;
Spectrum; English Muffle; Uroboros;
Wissmach; Youghiogheny, Glue
Chip, Toyo, Knipex, Fletcher, Weller,
Hexacon, and more.
BETHLEHEM BURNERS
890 Front St, PO Box Y
Hellertown, PA 18055
610-838-7034
FAX NUMBER: 610-838-6333
WEB: www.bethlehemburners.com
CONTACT: Rachel Lawrence
Glassworking torches and torch repair
services.
Surface mixed gas-oxygen torches.
Alpha Burner, Bravo Burner, and
Champion Burner.
BOISE ART GLASS
1124 W Front St
Boise, ID 83702
(208) 345-1825
FAX NUMBER: (208) 345-1758
WEB: www.boiseartglass.com
CONTACT: Filip Vogelpohl
We offer classes in the hot shop for
off hand glassblowing and lampwork
classes for all levels. We also have a
gallery with work from 17 different glass
artists.
BULLSEYE GLASS RESOURCE
CENTER BAY AREA
4514 Hollis Street
Emeryville, CA 94608
510-595-1318
WEB: www.bullseyeglass.com
CONTACT: Camille Hamilton, Manager
The Bay Area’s premiere kiln-glass
center offers creative classes for
all levels taught in a supportive,
inspirational environment. Find the
tools, supplies, and instruction you
need for kilnforming. Access the full
line of Bullseye compatible glasses
including billets, frits, rods, stringers,
and confetti. Volume discounts.
Our gallery hosts artist talks, and panel
discussions, and exhibits artwork that
explores the potential and complexity
of kilnformed glass. Open seven days.
Online store ships nationally. Video
lessons available.
Tekta, Bullseye Compatible glass,
Bullseye Shelf Primer, Bullseye
ThinFire paper, Chopstix sheet glass,
Disco Pack, Hot Rods Starter Pack,
Class Pack, Painting with Glass pack,
Studio Fuser pack, GlasTac fusing
adhesive.
CENTER NEW YORK
115 Hoyt Avenue
Mamaroneck, NY 10543
914-835-3794
CONTACT: Michele Fais, Manager
Opened in Fall 2013. Westchester’s
premiere kiln-glass center offers
creative classes for all levels taught in
a supportive, inspirational environment.
Find all the tools, supplies, and
instruction you need for kilnforming
with the full line of Bullseye
compatible colored glass, including
sheets, billets, frits, rods, stringers,
and confetti. Volume discounts.
Our gallery hosts artist talks and panel
discussions, and exhibits artwork
exploring the potential and complexity
of kilnformed glass.Online store ships
nationally. Video lessons available.
Disco Pack, Hot Rods
Starter Pack, Class Pack, Painting
with Glass Pack, Studio Fuser Pack,
GlasTac fusing adhesive.
CENTER PORTLAND
3610 SE 21st Ave
Portland, OR 97202
503-227-2797
888-220-3002
CONTACT: Janet Bartholomew, Manager
Find the tools, supplies, inspiration, and
instruction you need for kilnforming.
Connected to the Bullseye Glass Co.
factory, you can access the full line of
Bullseye compatible glasses, including
sheets, billets, rods, frits, stringers, and
confetti.
We offer classes for all levels in a
supportive, inspirational environment.
Open seven days per week. Online
store ships nationally. Free instructional
articles and videos on our website.
Premium online video lessons by
subscription.
Class Pack, Painting with Glass Pack,
Studio Fuser Pack, GlasTac fusing
adhesive.
CENTER SANTA FE
805 Early Street, Bldg E
Santa Fe, NM 87505
505-467-8951
CONTACT: Morgan Dougherty, Manager
The Southwest’s premiere kiln-glass
center offers creative glass classes
and workshop vacation packages
for all levels taught in a supportive,
inspirational environment. Find the
tools, supplies, and instruction you
need for kilnforming. Access the full line
of Bullseye compatible glasses,
including sheet, rods, billets, frits,
stringers, and confetti. Volume
discounts.
Open Tuesday - Saturday. Online store
ships nationally. Online video lessons
available.
Class Pack, Painting with Glass Pack,
Studio Fuser Pack, GlasTac fusing
adhesive.
C & R LOO, INC.
1732 Wright Ave
Richmond, CA 94804
510-232-0276
800-227-1780
FAX NUMBER: 510-232-7810
WEB: www.crloo.com
Complete line of art glass supplies.
Reichenbach, Kugler, Bullseye, System
96®, Spectrum, Uroboros, Fletcher,
Glastar, Bohle, Gemini, Skutt.
CANADIAN STAINED GLASS
WAREHOUSE
260 3rd Ave
Quebec, QC G1L 2X3 Canada
418-648-0969
877-918-0969
FAX NUMBER: 418-648-6100
Web: canadianstainedglasswarehouse.
com
CONTACT: Jocelyne Vezina
Stained glass supplies.
Everything for stained glass and glass
fusing.
CASCADE LEAD PRODUCTS
1614 W 75th Ave
Vancouver, BC V6P 6G2 Canada
604-261-8884
877-298-8884
FAX NUMBER: 604-261-8464
WEB: www.cascademetals.com
CONTACT: Michael Turvey
Came: brass, zinc, copper, lead. Came
benders, re-strip, solder, lead knives,
Lil® notchers. Steel and zinc rebar.
CG BEADS
703 N 5th St
Sanger, TX 76266
940-458-8322
WEB: www.cgbeads.com
CONTACT: Donna Felkner
CGBeadrollers (graphite cavity
marvers), jewelry findings and blanks,
Double Helix Glass, Frit, Lampwork
Teaching Studio.
While graphite cavity marvers are not
a new concept, CGBeads was the first
company to bring the concept to market
in this form. With over 135 designs and
counting, the line is revolutionizing the
way beads are made. Check our new
ear gauges.
CGBeadrollers.
CHICAGO METALLIC COMPANY
LLC
4849 S Austin Ave
Chicago, IL 60638
708-563-4845
800-323-7164
FAX NUMBER: 708-563-4215
WEB: www.chicagometallic.com
CONTACT: Laura Radius
CLARITY GLASS DESIGN
8049 E Lakeside Pkwy #205
Tucson, AZ 85730
520-885-3536
800-327-5430
FAX NUMBER: 520-885-4540
WEB: www.clarityglass.com
CONTACT: Terri Karahalios
Stained glass projects, kaleidoscope
supply, and finishing compound. Front
surface mirror in two grades, A and B.
All kits and compounds are trade
names of Clarity Glass Design. Oneof-a-kind products for the stained glass
industry.
COATINGS BY SANDBERG, INC.
856 N Commerce St
Orange, CA 92867
714-538-0888
FAX NUMBER: 714-538-2767
WEB: www.cbs-dichroic.com
CONTACT: Howard Sandberg or
Dana Baldwin
Leading manufacturer of dichroic
coated glass in 19- or 24-inch rounds,
starter packs, patterns, and custom
coatings. 90 COE, 96 COE, Moretti,
borosilicate, float, or your glass.
Sculpture, tubes, crystals, rods,
stringers, bevels, bowls, castings,
prisms, beads, buttons, and more.
Exclusive to Coatings By Sandberg:
Dichroic coated ceramic tiles, Dichroic
Extract.
Technical assistance always available
for your questions regarding dichroic or
your personal project.
Coatings By Sandberg, CBS.
COVINGTON ENGINEERING
CORP.
715 W Colton Ave, PO Box 35
Redlands, CA 92374
909-793-6636
877-793-6636
FAX NUMBER: 909-793-7641
WEB: www.covington-engineering.com
EMAIL: sales@covington-engineering.
com
CONTACT: Dan Drouault
Glass machines, studio size. Saws,
sanders, bevellers, laps, and polishers.
Covington, M.K.
CRESS MANUFACTURING
COMPANY, LLC.
4736 Convair Dr
Carson City, NV 89706
775-884-2777
800-423-4584
FAX NUMBER: 775-884-2991
WEB: www.cressmfg.com
CONTACT: Arturo Maldonado
Electric Kilns.
D & L ART GLASS SUPPLY
1440 W 52nd Ave
Denver, CO 80221
303-449-8737
800-525-0940
FAX NUMBER: 303-442-3429
WEB: www.dlartglass.com
CONTACT: Scott Childress or
Glynnis O’Connell
D&L Art Glass Supply is a full-line
wholesale art glass distributor serving
the professional retailer, glass crafter,
studio, artist, manufacturer, and
borosilicate lampworker for 40 years.
D&L Art Glass Supply stocks everything
you need for traditional stained glass,
fusing, lampworking, beadmaking,
jewelry, glass painting, mosaics, and
much more. Our 42,000-square-foot
warehouse is fully stocked with
thousands of sheets of glass from more
than 20 manufacturers and everything
you need in tools and supplies.
As the largest wholesale art glass
distributor in the West, D&L Art Glass
Supply has been providing quality
service for 40 years to all genres of
glass artists. Our customer-focused
sales staff is dedicated to meeting
the needs of your business. D&L
specializes in domestic & international
shipping. Visit D&L and handpick your
glass!
Armstrong, Bullseye, Cascade,
Chicago Metallic, Choice™ hand tools,
Choice™ bevels, Choice™ bevel
clusters, Choice™ glue chip glass,
Choice™ solder, CBS Dichroic, Colour
de Verre, Evenheat, Fremont, Gemini,
Glass Alchemy, Glastar, Gryphon,
Hakko, Inland, Kokomo, Northstar,
Paragon, Simax, Skutt, Spectrum,
System 96®, Toyo, Uroboros, Weller.
DENVER GLASS MACHINERY, INC.
2800 S Shoshone St
Englewood, CO 80110
303-781-0980
FAX NUMBER: 303-781-9067
WEB: www.denverglass.com
CONTACT: Holly Morrison
Manufacturer of kilns, beveling
equipment, engravers, glass band
saws, grinders, glassblowing furnaces,
annealers, glory holes, and custom
machinery.
Machinery built for the professional
glass art studio.
DGM / Denver Glass Machines.
DIAMOND TECH
5600 Airport Blvd, Suite C
Tampa, FL 33634
813-806-2923
800-937-9593
FAX NUMBER: 813-299-3313
WEB: www.diamondtechcrafts.com
CONTACT: Maggie Coppola
Art glass tools and supplies.
Studio Pro, Jennifer’s Mosaics,
Fireworks, fuseworks, Max Grinders,
Diamond Laser, Studio Line, Bearfoot
Tools By Studio Pro.
DICHROIC INC.
6057 Kenneth Way
Auburn, CA 95602
530-878-7483
888-944-3667
FAX NUMBER: 580-878-0423
WEB: www.dichroicinc.com
CONTACT: Carol Fonda-Clark
Dichroic glass 90 and 96 COE, Beads
by Carol Fonda-Clark and Monty Clark.
We offer CBS Coatings on special
order textures and glass.
Distributors - CBS, Wissmach,
Bullseye, Uroboros; Dichroic Inc.
Products, Sandcarved™ Products,
Dicro-Dots™, Silversilk Chain.
DOBBINS ENTERPRISES
LLC PROFESSIONAL GLASS
CONSULTANTS
223 N Guadalupe St #254
Santa Fe, NM 87501
505-473-9203
888-382-4776
FAX NUMBER: 505-473-9218
WEB: www.etchmaster.com
CONTACT: Ruth Dobbins
Books, DVDs, Seminars On Glass
Etching Techniques, Equipment,
Supplies, Pre-Cut Stencils & Designs,
Glass Blanks.
One-on-one training available in glass
etching + combination with fusing.
Etchmaster™.
DOORS BY DECORA
3332 Atlanta Highway, PO Box 3426
Montgomery, AL 36109
334-277-7910
800-359-7557
FAX NUMBER: 334-279-5470
WEB: www.doorsbydecora.net
CONTACT: J.K. Jones
Custom front entryways, doors,
sidelights, and transoms. Stained glass
windows.
Each door individually made to your
order, so custom sizes are no problem.
All doors are available open for glass,
solid, or with custom-made beveled
glass. Technical help is also available.
Doors by Decora.
ED HOY’S INTERNATIONAL
27625 Diehl Rd
Warrenville, IL 60585
630-836-1353
800-323-5668
FAX NUMBER: 630-836-1362
WEB: www.edhoy.com
CONTACT: Kyle Niewald
Wholesale art glass and supplies.
Largest glass inventory available,
monthly classes, over 12,000 supplies.
GlassPro®, Infinity®, Hotline®, Primo
Primer™, Glaskolben, ‘Dye’ namic
Infusion.
EDCO SUPPLY CORP
323 36th St
Brooklyn, NY 11232
718-788-8108
800-223-3414
FAX NUMBER: 718-788-0839
WEB: www.edcocopper.com
CONTACT: Howard Greenberg
Copper Foil.
EU GLASS
21 Bonair Drive
Warminster, PA 18974
215-957-6600
FAX NUMBER: 215-957-6655
WEB: www.eu-glass.com
CONTACT: Barry Weisinger
Schott Boro Artistic Clear Tubing and
Rod, Schott Duran, Lenz Laborglas
Ground Glass Joints, Glassco Labs
Bushings, Glass Alchemy, and
Glowlight Glass (GL-33).
Importer and wholesaler of highquality 33 expansion borosilicate glass
products made in Germany.
EUCLID KILNS
1120 Speers Rd
Oakville, ON L6L 2X4 Canada
905-849-0671
800-296-5456
FAX NUMBER: 905-849-0001
WEB: www.euclidkilns.com
CONTACT: Geoff Farrow
Glass kilns, elements for any kiln,
vents, controls, switches and repair
parts, replacement bricks and slabs,
kiln building materials, kiln furniture,
and digital pyrometers.
Specializing in custom kilns including
vertical-lift fiber kilns.
Euclid Kilns, Euclid’s Elements.
EVENHEAT KILN, INC.
PO Box 399, 6949 Legion Rd
Caseville, MI 48725-0399
989-856-2281
FAX NUMBER: 989-856-4040
WEB: www.evenheat-kiln.com
CONTACT: Mike Kelly
We manufacture electric kilns of all
sizes with interior dimensions ranging
from 6 x 6 to 74 x 50 x 13 inches. We
offer many enhancements to customize
your kiln such as built-in or handheld
units as well as the new Swing View
Option for Rampmaster and Set-Pro
controllers. Handheld and Swing View
units can either be installed directly at
the factory or supplied as a retro-fit kit
for kilns currently in the field. The
Rampmaster has the ability to run the
most complex of firing schedules with
features such as Power Tame, which
allows for a percentage control of lid
elements without the use of separate
infinite switches. The Set-Pro is equally
valuable as a controller with On-the-Fly
features to give you total control of your
firing. Other options for customizing
your kiln are digital and analog
pyrometers, large 2 x 4-inch viewing
window, vent holes, Orton Ventmaster
for single or multi kiln use, and the Kiln
Integrated Software System that allows
you to program, monitor, collect firing
data, and start/stop.
Evenheat Kiln, Inc. has over 60 years
of experience in providing top-of-the-line
kiln products and superior customer
service to domestic and global markets.
Rampmaster®, Rampmaster® II,
Set-Pro, Rapid Fire, Hot Box, Hot
Shot, Jewel Box, Studio 8, Studio Pro
and Dyna-Lift. Up to 10 Rampmaster
II equipped kilns directly from your
personal computer. We also custommake Rampmaster II and Set-Pro
Wall mount controllers that allow you
to convert any manually operated
kiln to automatic. In addition we carry
a full line of kiln accessories and
replacement parts such as full shelves,
half shelves, posts, glass separator,
haik brushes, hot gloves, and all
kiln components. The most recent
addition to the kiln line is the Dyna-Lift.
The Dyna-Lift makes lifting the heaviest
of lids a breeze, all while not putting
any stress on the body. The Dyna-Lift is
easy to install on your older Evenheats
as well as your new one.
FIRELITE FORMS & DISPLAY
STANDS INC.
5704 Lawton Dr
Sarasota, FL 34233
941-371-5492
888-800-3901
FAX NUMBER: 941-870-3039
WEB: www.fireliteforms.com
CONTACT: Jini Prusinski
Metal display stands, bits, books.
FRANCISCAN GLASS CO.
35255 Fircrest St
Newark, CA 94560
510-505-9775
800-229-7728
FAX NUMBER: 800-229-7730
WEB: www.franciscanglass.com
CONTACT: Phil Bibo
Franciscan Glass Co, Inc. is a full
line Distributor of Stained Glass and
related tools and supplies for traditional
stained glass as well as fused and
hot glass. We have a wide selection
of architectural glass for cabinets and
sidelights that can be fabricated
to cut sizes with the capability to
temper or laminate for safety glazing.
We have been family owned and
operated for 50 years.Our staff is very
knowledgeable and helpful, ready to
answer all of your questions. We ship
via UPS and common carrier daily and
get most orders out within 24 hours.
Export orders welcome.
Great customer service is our goal. We
hand select all glass as if it were for our
own work. All orders are packed with
care and pride to be sure you receive
your goods intact.
Spectrum, Uroboros, Bullseye,
Youghiogheny, Kokomo, Armstrong,
GNA, System 96®, Glamir, Pilkington,
Glastar, Inland, Morton, Gryphon,
Gemini, Toyo, Fletcher, Weller, Pro
Tools, Fan Out, American Hakko,
CKE Odyssey, Clarity, Cascade
Metals, Canfield, Amerway, Lamp
Base Specialties, Evenheat Kilns,
Skutt Kilns, Coatings By Sandberg,
DichroMagic®, and Bibo Mercantile.
FRANKLIN ART GLASS
STUDIOS, INC.
222 E Sycamore St
Columbus, OH 43206
614-221-2972
800-848-7683
FAX NUMBER: 614-221-5223
WEB: www.franklinartglass.com
CONTACT: Gary L. Helf
Franklin Art Glass, for over 90
years, has provided quality products
to the stained glass hobbyist and
professional.
We sell our products in our retail
showroom which is part of our
35,000-square-foot facility in historic
German Village in Columbus, OH, and
on the Web.
We sell all the major brands and add
new products weekly.
FUSION HEADQUARTERS, INC.
15500 NE Kincaid Rd
Newberg, OR 97132
503-538-5281
FAX NUMBER: 503-538-6527
WEB: www.fusionheadquarters.com
CONTACT: Carmen or Gil Reynolds
All fusing-related supplies and
equipment - classes - seminars.
Fuse Master.
GAFFER GLASS USA, LTD
19622 70th Ave South Bay #4
Kent, WA 98032
253-395-3361
877-395-7600
FAX NUMBER: 253-395-3363
WEB: www.gafferglassusa.com
CONTACT: Hallynd Hall
Blowing, casting, lampworking glass,
veiled cane, frit mixes, Red Hot Metal
Tools, Maruko Tools.
GEMINI SAW COMPANY, INC.
3300 Kashiwa St
Torrance, CA 90505
310-891-0288
FAX NUMBER: 310-891-0265
WEB: www.geminisaw.com
CONTACT: Jesse Cogswell
Taurus 3, Apollo, Revolution XT, Ring
Saws All.
Masters of shape cutting, precision
slicing, 45-degree miter cuts, and all
angles in hard materials.
Taurus I, II, II.2, 3; Apollo; Revolution
XT; DNS1.
GLASS ACCESSORIES INT’L, INC.
10112 Beverly Dr
Huntington Beach, CA 92646
714-962-1777
FAX NUMBER: 714-962-1777
WEB: www.glassaccessories.com
CONTACT: Steve Shupper
North American source for Toyo glass
cutters.
TOYO TAP Technology can now be
found on the popular TOYO Pistol-grip
Supercutter®. TAP Technology adds
a micro vibration as the wheel rotates,
driving scores deeper with less applied
pressure. The self-oiling wheel will cut
six miles of glass.
TOYO TAP Pistol-grip Supercutter®.
GLASS PATTERNS QUARTERLY,
INC.
PO Box 69
Westport, KY 40077
502-222-5631
800-719-0769
FAX NUMBER: 502-222-4527
WEB: www.glasspatterns.com
CONTACT: Maureen James
Glass Patterns Quarterly is the
leading international glass publication.
We’ve been providing inspiration
and information since 1985 to glass
hobbyists and professional artists. This
has been accomplished by developing
relationships with experts in glass
and sharing their techniques with
you through in-depth, step-by-step
tutorials. In every issue you can enjoy
great content with popular artists and
instructors and cutting-edge techniques
using the latest industry products.
New Books, Products, Industry News,
and What’s Hot keep you abreast of
the latest happenings in glass. We
feature inspiring gallery showcases,
dynamic general interest articles, tips
and techniques, and health and safety
information These features along with
our 16-page, pullout patterns section,
most of which are full-size, make Glass
Patterns Quarterly the number one
glass art publication.
Glass Patterns Quarterly, Glass
Patterns Quarterly Digital, Glass
Patterns Quarterly CD Version,
Glass Expert Webinars™,
Master Glass Artisan Lecture Series™,
GlassPatternsQuarterly.com.
GLASSCRAFT, INC.
3844 Janisse St
Eugene, OR 97402
541-684-6807
877-893-9386
FAX NUMBER: 541-684-6808
WEB: www.glasscraftinc.com
CONTACT: David Winship
Lampworking supplies.
Eugene, OR, and Golden, CO locations.
Simax, Northstar, Glass Alchemy,
Carlisle, Nortel, Herbert Arnold,
Paragon, Effetre.
HANDLEY INDUSTRIES, LTD
241 Lombard St
Buffalo, NY 14212
716-893-5377
FAX NUMBER: 716-895-5144
WEB: www.handleylampparts.com
CONTACT: Jim Handley
Table and floor bases, general
electrical supplies, pendants, jack and
fixture chain, foil, cutters, solder, and
so much more.
Largest supplier of bases and electrical
supplies to the stained glass industry.
HANDY HANGER MFG.
140 Bastrop St
Angleton, TX 77515
979-848-1159
WEB: www.handyhanger.net
CONTACT: Lori Thomas
Brass hangers for hanging stained
glass pieces and fused glass pieces.
Handy Hanger.
HIS GLASSWORKS, INC.
2000 Riverside Dr Box 10, Suite 19
Asheville, NC 28804
828-254-2559
800-914-7463
FAX NUMBER: 828-254-2581
WEB: www.hisglassworks.com
CONTACT: Mark Bolick
His Glassworks, Inc. offers a full range
of cold working supplies from diamond
disks, wheels, and belts to adhesives,
polishing media, and machinery along
with years of cold working experience.
Along with our full line of diamond
tools and accessories, we also offer
custom tool fabrication and friendly,
knowledgeable customer service by
glass artists and cold workers.
3M, Abrasive Technology, Crystalite,
Hxtal Nye-1, Covington, Polpur,
VID, Husqvarna, MK Diamond, Flex,
Cyclone Blastars, Gemini Saw, Suhner.
HOEVEL
12102 Venice Blvd
Los Angeles, CA 90066
310-313-6829
800-959-9264
FAX NUMBER: 310-313-6848
WEB: www.hoevel.com
CONTACT: Craig Bradley
Tools to make art glass more creative,
faster, with higher quality. Color Magic
for added color to glass carving. Cut
foiling of stained glass in half with
higher quality.
See our Website for additional product
information and where to purchase all
of our products.
Color Magic™ Glass Stains and Paint,
Diegel Foiler, Kwik-Clean Flux and
Patina Cleaner, Kwik Crimp, Copper
Magic™ Sheets, Color Magic™ Outline
Pen.
HOLLANDER GLASS ATLANTA
(AT BEVEL KING DOORS)
6095-B Boatrock Blvd
Atlanta, GA 30336
678-904-1136
877-238-5464
FAX NUMBER: 678-904-3360
WEB: www.hollanderfusingcenter.com
CONTACT: George Rochler
Stained glass and supplies, warm glass
and supplies, mahogany and fiberglass
doors.
We offer a comprehensive inventory,
kiln rental time, studio rental time,
state-of-the-art classroom studio.
Spectrum, Wissmach, Uroboros,
Schott, Saint-Gobain, Kokomo,
Bullseye, many more.
INLAND CRAFT PRODUCTS
32052 Edward Dr
Madison Heights, MI 48071
248-583-7150
800-521-8428
FAX NUMBER: 248-583-9089
WEB: www.inlandcraft.com
CONTACT: Dan Waber
The world’s best-selling glass grinders,
flat lap machines, diamond bits,
diamond table saws, diamond band
saws, glass cutters, cement, pliers and
hand tools, soldering irons, workshop
organizers, and more.
A world-class ISO 9001:2008 certified
manufacturer of products designed for
cold working glass for over 30 years.
Wizard, Wiz, Wizling, SwapTop™
DropOn Bits, Cement System,
Instaheat Iron, TempTrol 100 Iron,
Studio Professional Iron, EdgeMaster™
Foiler, MagnaShield™ DuraLife™
Pliers, Mini-Phaser, DB-100 Band Saw.
INSPIRED FIRE GLASS STUDIO
& GALLERY, LLC
2124 St Rd 25 W
Lafayette, IN 47909
765-474-1981
WEB: www.inspiredfire.com
CONTACT: Sharon Owens
Classes, Handmade glass items, Glass
rods, 2-D Artwork, Watercolors and
Paintings.
Air conditioned/heated studio with
visiting world-class artists.
Sharon Owens original glasswork and
other local artists.
J. SUSSMAN, INC.
109-10 180th Street
Jamaica, NY 11433
718-297-0228
FAX NUMBER: 718-297-3090
WEB: www.jsussmaninc.com
CONTACT: Jon Sussman
Custom aluminum frames and
ventilators for stained and/or protective
glass. Venting and hurricane impact is
available. Special aluminum extrusions
for protective coverings of existing art
glass windows.
Family owned and run since 1906, J.
Sussman, Inc. is the oldest and largest
manufacturer of custom-made windows
and special aluminum extrusions for
the art and leaded glass trade. We
have BIM.
Sunbilt Sunrooms, skylights,
greenhouses, light boxes, ceiling lights,
metal bending.
JAX CHEMICAL COMPANY
640 South Fulton Ave
Mt Vernon, NY 10550
914-668-1818
FAX NUMBER: 914-668-8490
WEB: www.jaxchemical.com
CONTACT: Anthony Nappi
Green patina and metal finishing
solutions.
JOHNSON MANUFACTURING
COMPANY
114 Lost Grove Rd, PO Box 96
Princeton, IA 52768
563-289-5123
800-747-0030
FAX NUMBER: 563-289-3825
WEB: www.johnsonmfg.com
CONTACT: Aaron Morrow
Manufacturers of Johnson’s Pure
Solders, Soldering Fluxes, Paste
Solders, Flux Sticks, Sal-Blocks, and a
wide variety of related chemicals and
supplies.
Johnson Manufacturing has been
around since 1909.
Johnson, L.B. Allen, SA-Day Products,
plus-Flux-N-Solder, Lloyd’s,
Alumaweld, Superbraze, Xcel, Fluxes,
Flo Rite pastes, Super Flo Solder, and
BrazeAL.
JUBLIEE CREATIVE
3610 Weber Road
St. Louis, MO 63125
314-296-3225
877-845-6300
WEB: www.jubileecreative.com
CONTACT: Ann Novotney
COE 96 and COE 90 Fusible Precut
Glass Shapes and Designs, Jewelry
Findings, Fusible Glass Paint,
Aluminum Fusaic/Mosaic
Bases, Glass Molds, and more.
Custom Waterjet Glass Cutting.
only distributor of fusible, stained, and
architectural sheet glass and related
tools and supplies.
Spectrum, Bullseye, Coatings By
Sandberg, Uroboros, Austin Thin Films,
Kokomo, Wissmach, Youghiogheny,
Diamond Tech Glass, Gryphon,
Gemini, Inland, Skutt Kilns, Evenheat
Kilns, Jen-Ken Kilns, Aanraku, Findings
For Fused, Firelite Forms, Creative
Paradise Molds, and many more.
Minneapolis, MN 55413
612-789-2990
800-328-5132
WEB: www.northernhardwoodframes.com
CONTACT: Kate Schiffler
Wood frame - rectangular, rounds,
ovals, lineal, and pairs plus hanging
accessories.
U-shaped groove to maintain the
integrity of your art.
KUTA GLASS ACCESSORIES, LTD.
2B Lamb St
Georgetown, ON L7G 3M9 Ontario
905-873-8800
FAX NUMBER: 905-873-8845
WEB: www.kutaglass.com
CONTACT: Anthony Farrugia or
Ron Sakuta
Wissmach Glass, Spectrum Glass,
Cascade Metals, Weller, Aanraku,
Hakko Hand Tools, Venture Tape, Edco
and more.
Wissmach Glass, Spectrum Glass,
Uroboros Glass, Cascade Metals,
Weller, Hakko, Aanraku, Edco, Venture
Tape, Leponitt, Gemini, Glastar, Inland,
Novacan, Stellar.
MAYCO
4077 Weaver Court South
Hilliard, OH 43026
614-675-2032
FAX NUMBER: 614-876-9904
WEB: www.maycocolors.com
CONTACT: Crista Toler
Designer Liner Underglazes, Silk
Screens, Silk Screen Medium, Texture
Mats & Stamps, Spring/Press Molds,
Supplies to create custom slump
molds.
Mayco has been producing color for
the ceramics industry for 60 years.
Our tools, decorating accessories,
and Designer Liner colors provide the
perfect method for addiing detail, color,
design, and texture to your fused glass
work. Our website features a project
library.
Designer Linier, Designer Silk Screens,
Designer Mats, Designer Stamps, Silk
Screen Medium, Spring Molds.
NORTHWEST ART GLASS INC.
9003 - 151st Ave NE
Redmond, WA 98052
425-861-9600
800-888-9444
FAX NUMBER: 425-861-9300
WEB: www.nwartglass.com
CONTACT: Richard Mesmer
Full-line glass and tool distributor.
Largest selection of clear patterned
glass for interior design and the best
selection of glass fusing materials in
the Northwest and Canada.
Verrerie de Saint-Just Glass, Bullseye
Glass, Kokomo Glass, Spectrum Glass,
Uroboros Glass, Youghiogheny Glass,
Wissmach Glass, Oceana Glass,
Frandisa, Saint-Gobain, Fremont,
Glaueruel, Schott, Toyo Cutters, HiLite Bevels, Optul Jewels, Paragon
Kilns, Inland Grinders, Cascade Lead,
Glastar Grinders, Skutt Kilns, Pilkington
Texture™ Glass.
KWC, INC.
7369 Hwy 62
Maquoketa, IA 52060
563-652-4422
800-250-1790
FAX NUMBER: 563-652-6308
WEB: www.tablefoiler.com
CONTACT: Bryon Carlson
Table Foiler®, Grinder Cookie™,
MagicCutter™.
Looking to support the stained glass
industry as needed.
L & L SPECIAL
FURNACE CO., INC.
20 Kent Rd
Aston, PA 19014
610-459-9216
877-846-7628
FAX NUMBER: 610-459-3689
WEB: www.hotfurnace.com
CONTACT: Nancy Kester
Kilns for glass fusing, slumping,
lampwork, annealing, staining, and
laminating.
Most versatile front-loading glass kiln
on the market.
Genesis.
LINCOLN DISTRIBUTORS
4611 S Chatham
Mesa, AZ 85212
480-968-9297
800-528-1419
FAX NUMBER: 480-968-6358
WEB: www.lincolnglass.com
CONTACT: Jamie Amato
Fusible glass and related products,
stained glass and related products,
architectural glass. We carry an
extensive inventory of CBS Dichroic
glass in both COE 90 and 96.
For almost 40 years, Lincoln has been
the Southwest’s largest wholesale-
MORTON GLASS WORKS, INC.
170 E Washington Street, PO Box 465
Morton, IL 61550
309-266-5712
800-635-2113
FAX NUMBER: 309-263-8376
WEB: www.mortonglass.com
CONTACT: Don or Sherrie Abel
Manufacturer of hand tools for the art
glass hobbyist and professional.
Maxi Surface Plus, Teeny Circle
System, Portable Glass Shop, Safety
Break System, Layout Block System,
Strongline, Clean Cut, Mr. Splash,
Safety Splash, Cutter Caddy, Morton
Twister,Grinder Tongs, Glass Caddy,
Assembly Tray, Circle Border System,
Liquid Stringer Caddy.
NORTEL MANUFACTURING, LTD.
2040 Ellesmere Rd, Bldg 18
Scarborough, ON M1H 3B6 Canada
416-438-3325
FAX NUMBER: 416-438-7140
CONTACT: Peter Norton
Manufacturer of burners, hand torches,
and Polariscope Strain Viewers for hot
glassworking of beads, paperweights,
and larger glass items.
Full line of equipment and supplies
for artistic and scientific glassworking,
including wet abrasive cut-off saws.
Minor, MegaMinor, Midrange, Major,
and RedMax Bench Burners, MultiMix,
TwinFuel and Ranger Hand Torches,
Nortel Cut-off Machines.
NORTHERN HARDWOOD
FRAMES
1620 Central Ave NE Ste 156
ODYSSEY LAMP SYSTEMS
8317 Secura Way
Santa Fe Springs, CA 90670
562-696-9331
800-403-1981
FAX NUMBER: 562-696-9392
WEB: www.mosaicshades.com
CONTACT: Jenny Hanley-Palmer
Bronze Tiffany reproduction lamp
bases and hardware, fiberglass mold
kits and patterns.
True Tiffany reproduction, beginner to
advanced levels!
Tacky Wax, Mold Mud.
OLYMPIC COLOR RODS
818 John St, PO Box 9240
Seattle, WA 98109
206-343-7336
800-445-7742
FAX NUMBER: 206-343-2292
WEB: www.glasscolor.com
CONTACT: Mark Hood
Glass color, glass tools, lampworking
glass and tools.
Largest Reichenbach glass inventory in
North America.
Reichenbach, Jim Moore Tools,
Blockhead Tools, Spiral Arts, Correll,
Uroboros, System 96®, Spectrum 96®
Nuggets, Spectrum Premium Nuggets,
Coatings By Sandberg, Metal Leaf,
Cast-a-lot Mold Mix, Gott Garments.
OLYMPIC KILNS
PO Box 1347, 4225 Thurmon Tanner Pkwy
Flowery Branch, GA 30542
770-967-4009
800-241-4400
FAX NUMBER: 770-967-1196
WEB: www.greatkilns.com
CONTACT: Cynthia Haugen
Manufacturer of gas and electric kilns
for fusing, slumping, casting, and much
more. Custom kilns available upon
request.
Olympic Kilns.
PARAGON INDUSTRIES, L.P.
2011 S Town East Blvd
Mesquite, TX 75149-1122
972-288-7557
800-876-4328
FAX NUMBER: 972-222-0646
WEB: www.paragonweb.com
CONTACT: Arnold Howard
Furnaces, kilns, and heating elements.
Manufacturer of a full line of glass kilns,
from the QuikFire to the giant Pearl-56.
Sentry Digital Controller, QuikFire,
Caldera Kiln, Fusion series kilns, Pearl
series, Janus series, FireFly, Vulcan
crucible furnace,Clamshell series.
PAUL WISSMACH GLASS
COMPANY, INC.
420 Stephen St, PO Box 228
Paden City, WV 26159
304-337-2253
FAX NUMBER: 304-337-8800
WEB: www.wissmachglass.com
CONTACT: Mark Feldmeier
Manufacturer of opalescent and
cathedral sheet glass. Wissmach 90,
and Wissmach 96, fusing glass and
temperable clear and colored textures.
Manufacturer of the widest variety of art
glass in the world for 109 years.
Wissmach 90™, Wissmach 96™,
English Muffle, Aerolite, Stream X,
Corella Classic, Wisspy, Granite,
Ripple, Victorian Mottle, Cube, Dew
Drop, Seville, Flemish, Aqualite, Seedy,
Figure C, Mystic Cathedral, Mystic
Streaky, and Mystic Wisspy.
PEGASUS GLASS
211 Shearson Crescent
Cambridge, ON N1T 1J5 Canada
519-620-7991
800-315-0387
FAX NUMBER: 519-620-7992
WEB: www.pegasus-glass.com
CONTACT: Mark Trent
Glass tubing and rod, blank flasks,
blank bottles, ground joints, hex feet.
Get your tubes and rods cut to length
fast and cheap.
North America’s #1 source of
borosilicate specialty glass tubing,
glass rod, and custom glass.
Simax, Pyrex®, Duran®, Borofloat®,
Pegasus.
PRE-CUT PATTERNS, INC.
12764 Greenly St Ste 40
Holland, MI 49424
616-392-4415
FAX NUMBER: 616-392-4432
WEB: www.pre-cut.com
CONTACT: Lori Appeldorn
4 mil. and 8 mil. stock and custom
stencils for abrasive and chemical
etching.
Stock designs or custom patterns from
artwork you supply. Over 200 different
typefaces. Patterns for etching and
painting. Web page with over 1,000
designs made to order. Also, will
provide etched glass finished products
for those who don’t want to do it, but
want to add it to their line.
800-253-4502
FAX NUMBER: 419-865-9777
WEB: www.glass-cast.com
CONTACT: Alisa Rawski
Mold materials for glass casting,
plasters, silicone, and wax; R&R®
Glass-Cast 101, 400, 910, and 965,
investments; R&R® 50/50 Mold Mix.
R&R® Glass-Cast 100, 400, 910, and
965, R&R® 50/50 Mold Mix.
PREMIUM GLASS PRODUCTS
1813 Bertrand Dr
Lafayette, LA 70506
337-234-1642
800-752-3501
FAX NUMBER: 337-234-1646
WEB: www.premiumglass.net
CONTACT: Al Chauvin
Beveled glass, glue chip, mirror,
etched, straight line, pattern, custom
and production beveling.
Custom and production beveling in all
sizes and shapes. Competitive pricing
and turn-around times.
Premium Bevels.
RAYER’S BEARDEN STAINED
GLASS
6205 W Kellogg Dr
Wichita, KS 67052
316-942-2929
800-228-4101
FAX NUMBER: 316-945-2929
WEB: www.beardens.us
CONTACT: Randy/Tiffany
Classes, seminars, customs - large
and small. We sell stained glass hobby
supplies, lighting, entry doors, gifts, and
collectibles.
Glastar, Gemini, Mika, Weller, and
many more.
RAINBOW ART GLASS, INC.
1761 Route 34 South
Wall/Farmingdale, NJ 07727
732-681-6003
800-526-2356
FAX NUMBER: 732-681-4984
WEB: www.rainbowartglass.com;
www.customcabinetglass.com
CONTACT: Anthony Longo
Full-line art glass inventory of over
2,000 styles and colors to choose from
including antiques, architectural
patterns, dichroic, flashed glass, and
many more. Also related art glass
supplies consisting of bevels, tools,
sundries, mosaics, metals, chemicals,
bases, lamp forms, books, patterns,
and a large assortment of all size kilns
and everything for hot glass, bending,
slumping, fusing, beadmaking, and
lampworking.
For over 50 years we have provided
the decorative glass architectural
industry with quality service at
competitive prices. We feature our
unique Exquisite™ line of bevel
clusters. Worldwide importer and
exporter.
We carry an extensive line of products
from all major manufacturers including
Verrerie de Saint-Just, Clear/Color
textured architectural glass, Spectrum,
Wissmach, Armstrong, Bullseye,
Canfield, Cascade, Chicago Metallic,
CKE, Clarity, Weller, Diamond Tech,
Dichroic (Austin, CBS, Duncan), Edco,
Evenheat, Exquisite™, Fletcher,
Gemini, Glastar, Gryphon, Inland,
Kokomo, Leponitt, Morton, Novacan,
Odyssey, Paragon, Toyo, Uroboros,
Venture, Wardell, Worden,
Youghiogheny, Reusche, Skutt,
Hakko, System 96® and 90,
Value Brand, Krosno Antiques,
Aanraku, Amerway.
RANSOM & RANDOLPH
3535 Briarfield Blvd.
Maumee, OH 43537
419-865-9482
REUSCHE & CO. of T.W.S., INC.
1299 H Street
Greeley, CO 80631
970-346-8577
FAX NUMBER: 970-346-8575
WEB: www.reuscheco.com
CONTACT: Jon Rarick
Paints - glass enamels, brushes,
mediums, and precious metals.
Reusche Colors, Reusche Oils.
SARAL PAPER CORP.
400 E 55th St, Ste 18-B
New York, NY 10022-5134
212-223-3322
FAX NUMBER: 212-223-8111
CONTACT: Dick Lamley
Saral® WAX FREE Transfer Paper is
the superior way to transfer a pattern,
template, or freehand design to ANY
SURFACE ... wood, fabrics, paper,
metal, canvas, ceramics, stained glass
... any surface. Transfer paper is also
know as “tracing paper” or
“graphite paper.”
Our acid-free coatings allow the user
to make crisp, clean tracings no matter
the color of the surface, because Saral
WAX FREETransfer Paper comes in 5
colors - Graphite, White, Blue, Yellow,
and Red.
SASHA’S INTERNATIONAL, INC.
333 Arthur Godfrey Rd Ste #322
Miami Beach, FL 33140-3642
305-695-8990
800-757-8141
FAX NUMBER: 305-695-8991
WEB: www.sashas.net
CONTACT: Sharon Andonov
Clean-All Heavy Metals Hand & Body
Soap.
Lead can poison you! Get the lead
out with Clean-All Soap, the soap that
safely removes lead residue.
SCREEN IT ON
1200 Harkness Street
Manhattan Beach, CA 90266
844-289-7273
WEB: screeniton.com
CONTACT: Roberta Schannep
Screen Printing Kit for glass,
unexposed screens, and transparent
film for ink jet printers. Custom size
screens and graphics for all your
needs. We also have many custom
designed, ready-to-print screens.
Our Kit includes everything you will
need to turn your artwork or clip art into
a ready-to-use silkscreen in 7 minutes
using natural sunlight. No exposure
machine needed.
Screen It On™ is a trademark name for
our handmade unexposed silk screens.
SKUTT KILNS
6441 SE Johnson Creek Blvd
Portland, OR 97206-9552
503-774-6000
FAX NUMBER: 503-774-7833
WEB: www.glasskilns.com
CONTACT: Mike Sievers
Electric kilns for fusing, slumping,
annealing, and beadwork.
KilnMaster, GlassMaster, Hot Start
Pro, EnviroVent II, EnviroLink, FuseFit,
Scarab, and Mini Scarab.
SLIDE PRODUCTS, INC.
430 S Wheeling Rd
Wheeling, IL 60090
847-541-7220
800-323-6433
FAX NUMBER: 847-541-7986
WEB: www.slideproducts.com
CONTACT: Michael Muth
Boron Nitride lubricant/release.
SLUMPY’S
710 Catawba St
Belmont, NC 28012-3504
704-829-9293
866-Slumpys
FAX NUMBER: 704-829-7992
WEB: www.slumpys.com
CONTACT: Denise Gibson
Slumpy’s carries high-quality ceramic
and stainless steel molds for slumping,
fusing, and draping. We also carry
tools, kilns, supply kits, COE 90
and 96 rich glass colors in blanks,
frit, and more. Fired Glass Paints &
Silkscreens.
Slumpy’s is the source for the best
selection of glass supplies and
education. Browse our retail location to
shop in store or attend one of our many
glass workshops.
STAINED GLASS ASSOCIATION
OF AMERICA
9313 E 63rd St
Raytown, MO 64133
816-737-2090
800-438-9581
FAX NUMBER: 816-737-2801
WEB: www.stainedglass.org
CONTACT: Katei Gross
For more than 100 years the SGAA,
as a professional trade association,
has provided support, marketing, and
education to the stained and decorative
glass arts including the awardwinning magazine The Stained Glass
Quarterly with both print and digital
editions. Multiple membership levels
allow studios, artists, retailers, and
enthusiasts to all be included and enjoy
the many benefits the SGAA offers.
The SGAA also supports and provides
educational materials for clients
seeking professional level studios. The
Stained Glass School provides handson education for certification both at
its facility in Raytown, Missouri, and in
conjunction with the SGAA
Annual Summer Conference.
The Stained Glass Association of
America, The Stained Glass School,
The Stained Glass Quarterly, SGAA
Reference and Technical Manual,
SGAA Sourcebook.
STAINED GLASS UNLIMITED
7332 Main Street
The Colony, TX 75056
972-625-3416
WEB: www.StainedGlassUnl.com
CONTACT: Denise Feeney
We design and build Custom Stained,
Beveled, and Etched Glass. We do
on-site and in-studio repairs and
restoration.
In the same location since 1983.
Spectrum, Kokomo, Wissmach,
Bullseye, Uroboros, Inland, Glastar,
Gryphon, Aanraku, Gemini, Novacan,
Canfield, etc.
SUNSHINE GLASSWORKS, LTD.
111 Industrial Pkwy, Sunshine Square
Buffalo, NY 14227-2712
716-668-2918
800-828-7159
FAX NUMBER: 716-668-2932
WEB: www.sunshineglass.com
CONTACT: Scott Emslie
Full-line supplier of glass, metals,
and tools used in the stained glass
trade. Over 1,500 colors of glass
from Spectrum, Wissmach, Uroboros,
Kokomo, and Youghiogheny.
Small or larger orders - no problem.
Shipping around the world and just
minutes from Canada.
Spectrum, Wissmach, Uroboros,
Youghiogheny, Kokomo, Oceana,
Schott, Cascade, Canfield, Hexacon,
Evenheat, MacInnes, Odyssey,
Venture, Creative Paradise, Morton,
Coatings By Sandberg, Reusche,
Colour De Verre, Glastar, Inland,
Weller, Gryphon, Gemini, Mika
International, GAI, and dozens more.
TECHNIGLASS CORP.
80 Thompson St
North Tonawanda, NY 14120
716-564-8888
800-564-9353
FAX NUMBER: 716-564-8889
WEB: www.techniglass.net
CONTACT: Cheryl Gondek
Grinding bits - Gel Bit and Quick Fit
THE ART GLASS HOUSE, INC.
3650 N US Highway 1
Cocoa, FL 32926
321-631-4477
FAX NUMBER: 321-631-9565
WEB: www.artglasshouse.com
CONTACT: Ron Bearer Jr.
Full-line distributor of stained glass.
Specializing in glass, came, tools,
books, patterns, kilns, fusing, bevels,
chemicals, glass painting supplies,
flameworking tools and supplies.
Se habla Espanol.
Export orders are welcomed. Also
located at: 422 Industrial Blvd.,
Toccoa, GA 30577.
Bullseye, Spectrum, Uroboros,
Kokomo, Armstrong, Chicago Art
Glass, Wissmach, Youghiogheny,
Paragon, Inland, Glastar, Gryphon,
Novacan, Diamond Tech, Toyo,
Fletcher, Weller, Ungar, Hakko,
Worden, Cascade, Morton, Clarity,
Evenheat, Jen-Ken, Rubyfluid, Edco,
Venture, Bovard, Gemini, Mika,
Odyssey, Northern Hardwoods, Tiffany
Garden, Oceana glass, System 96®,
Skutt Kilns, Olympic Kilns, Nortel,
Bethlehem, Northstar, Simax, Effetre,
Moretti, Coatings By Sandberg,
DichroMagic® Kemxert UV Glue,
Momka, Precision Color Boro, Heritage
Quality Hardwoods, Slumpy’s, and
Hothead.
THE FLOW MAGAZINE
PO Box 69
Westport, KY 40077
5022225631
800-719-0769
FAX NUMBER: 502-222-4527
WEB: www.theflowmagazine.com
CONTACT: Maureen James
Since its inception, the focus of
The Flow has been to provide
a bond among members of the
lampworking community. This has
been accomplished by developing
relationships with the finest artists
and sharing their techniques with
you through in-depth, step-by-step
tutorials. In every issue you can
enjoy great content with the hottest
lampworking artists and cutting edge
techniques using the latest industry
products. These features along with
the continuation of our special-themed
issues, inspiring gallery showcases,
and dynamic general interest
articles as well as health and safety
information make The Flow the leading
international lampworking journal.
The Flow, The Flow Digital, The Flow
CD Version, TheFlowMagazine.com.
THE SLEE CORPORATION
4125 N Kostner Ave
Chicago, IL 60641
773-777-2444
800-875-7808
FAX NUMBER: 773-777-4627
WEB: www.crystaledge.com
CONTACT: Barry Slee
Manufacturers of engravable glass
and crystal products. More than 3,500
products are available in our product
lines.
Manufacturer of the luminary series
of LED display bases and signage
products.
Crystaledge®.
THE VINERY
1422 MacArthur Rd
Madison, WI 53714
608-244-9900
FAX NUMBER: 608-244-8137
WEB: www.vineryglass.com
CONTACT: Denny Berkery
Custom stained glass, repairs
and restoration, supplies for the
hobbyist and professional, classes in
stained glass, fusing, mosaics, and
flameworking.
Publisher of 5 pattern books.
UNIQUE GLASS COLORS
300 Ryder Ln, Unit 1000
Casselberry, FL 32707
407-261-0900
FAX NUMBER: 407-331-0900
WEB: www.uniqueglasscolors.com
CONTACT: Margot Clark
Kiln fired colors for COE glass 83 to
96. MUD for adding fusible or air-dried
texture to artwork. Brushes, metal
leafing, and other ancillary items for
glass fusing and finishinig.
Custom created colors upon request.
Unique Glass Colors; MUD.
UROBOROS GLASS
2139 N Kerby Ave
Portland, OR 97227
503-284-4900
FAX NUMBER: 503-284-7584
WEB: www.uroboros.com
CONTACT: Sales
Founded in 1973, Uroboros Glass
has been an industry leader
as a manufacturer of over 100
different styles of high-quality glass
combinations including System 96®,
FX90, URO104 and specialty Art
Glass for the discerning kiln forming,
torchwork, cold working, mosaic, and
stained glass artist. The Uroboros Art
Glass product line has a wide selection
of Granite, Ring Mottle, and Fracture/
Streamer to name a few. Vibrant,
saturated colors, opal and transparent
mixed in sophisticated combinations,
all are available in subtle to dramatic
textures including textured and iridized
versions of colors found only at
Uroboros. Our product line includes
sheets, rods, frit, noodles, stringer,
casting billets and rocks. Our frit comes
in 5 sizes including mosaic and you’ll
only find noodles at Uroboros. Casting
billets and other casting media are
available in black and a variety of
transparent colors. Call us if you’re
looking for that hard-to-find color.
We can also work directly with the artist
to develop precise custom hand-rolled
specialty colors. We offer classes
with world-renowned glass instructors
for beginners, as well as advanced
artists. And we rent kiln space. Visit
our website for product information and
technical guidance, or contact us for
assistance on your next project.
FX90®, System 96®, URO 104.
UST GLASS
4510 Adams Circle Unit E
Bensalem, PA 19020
215-633-6778
FAX NUMBER: 215-633-6995
WEB: www.ustglass.com
CONTACT: Vlad Cutler
Schott Tubing and Rod, Chinese
Clear and Color Tubing and Rod,
German and Chinese Ground Joints,
Dicro and LinedTubing, Glass Discs,
Honeycombs.
Four warehouse locations in Portland,
OR; Pico Rivera, CA; Bensalem, PA.
Borosilicate Glass, Schott, Golden
Gates, Chinese clear and color tubing,
German Joints, Chinese Ground Joints.
VICTORIAN ART GLASS
566 David St
Victoria, BC V8T 2C8 Canada
250-382-9554
FAX NUMBER: 250-382-9552
WEB: www.vicartglass.com
Supplies and equipment for stained
glass, fusing, torchworking, embossing,
sandblasting, and hot glass. Classes in
all glass art disciplines.
Will ship anywhere on earth.
WALE APPARATUS CO. INC.
400 Front St
Hellertown, PA 18055
610-838-7047
800-334-9253
FAX NUMBER: 610-838-7440
WEB: www.waleapparatus.com
CONTACT: Dan Brucker
Glassblowing tools and supplies.
Corning Pyrex® glass tubing and rod.
Beadmaking supplies.
Corning Pyrex® Nortel, Carlisle, JenKen, Paragon, J Young, Evenheat,
Northstar, Glass Alchemy, TAG,
Momka’s, Effetre, CIM.
WARDELL PRODUCTS
PO Box 480069
Fort Lauderdale, FL 33348-0069
954-607-2189
FAX NUMBER: 754-551-5462
WEB: www.wardellpublications.com
CONTACT: Randy Wardell,
Carole Wardell
Wardell Products is a full-line publisher
of books for the art glass industry
with titles for Stained Glass, Fusing,
Casting, Jewelry, and Glass Mosaics a total of 43 titles in print. Most of their
books are also available for immediate
download in eBook format on the
Internet at www.ebooksforartglass.com.
Wardell Products now offers a line of
ceramic fusing molds that includes the
Binasphere Mold that enables users to
create either a footed bowl or a footed
platter using only this one mold. The
Starfire Drape Mold with the ability to
add a stemmed foot and the Drop-Thru
Mold System that aligns the glass-drop
to a wine-glass style foot. Find out
more at www.joyoffusing.com.
WARNER STAINED GLASS
795 Roble Road, Ste A
Allentown, PA 18109
610-264-1100
800-523-4242
FAX NUMBER: 800-523-5012
WEB: www.warnerstainedglass.com
CONTACT: Charles Warner
Glass, tools, pattern books, kilns,
supplies.
Creative Castings, Monster Metals,
Bevelcrafters.
WEAVER INDUSTRIES, INC.
PO Box 326
Denver, PA 17517
717-336-7507
FAX NUMBER: 717-336-4182
WEB: www.weaverind.com
CONTACT: Jerred Poff
The Perfect Tool System, Vin Pins,
lampwork tools, marble molds, optic
molds, 3-D push molds, stamps,
custom molds for glassblowing and
pouring, graphite rods, graphite marver
plates.
At Weaver Industries, we continue
to work with you, the glass artists,
who use our tools in order to design,
perfect, and ensure the highest quality
graphite glass art tools available in the
marketplace. We provide tools for all
levels of skill and all methods of glass
artistry.
Vin Pins, TPT (The Perfect Tool), Fritts
V-Block, Comfort Grip Marver.
YOUGHIOGHENY OPALESCENT
GLASS COMPANY, INC.
300 South First St, PO Box 800
Connellsville, PA 15425
724-628-3000
FAX NUMBER: 724-628-5060
WEB: www.youghioghenyglass.com
CONTACT: Sean Scarry
Glass Manufacturing - Sheet Glass,
Frits.
World renowned for uncomprising
quality of stained glass.
Stipple, Easy Fuse.
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Bits, Aqua Flow System.
Gel Bit™, Quick Fit Bit® System,
Aqua Flow System®.
Every conceivable effort has been made
to include all of the suppliers to the art
glass industry. Any ommissions are by
the suppliers' choice or purely accidental.
PRODUCTS AND SERVICES
ACID ETCHING EQUIPMENT AND SUPPLIES
LINCOLN DISTRIBUTORS, AZ
FRANCISCAN GLASS CO., CA
AANRAKU STAINED GLASS, CA
HOEVEL, CA
COATINGS BY SANDBERG, INC., CA
C & R LOO, INC., CA
ARTISANS, CO
D & L ART GLASS SUPPLY, CO
THE ART GLASS HOUSE, INC., FL
AAE GLASS, FL
HOLLANDER GLASS ATLANTA, GA
ED HOY’S INTERNATIONAL, IL
RAYER’S BEARDEN STAINED GLASS, KS
PRE-CUT PATTERNS, INC., MI
HIS GLASSWORKS, INC., NC
BENDHEIM, NJ
ARMOUR PRODUCTS, NJ
RAINBOW ART GLASS, INC., NJ
SUNSHINE GLASSWORKS, LTD., NY
FRANKLIN ART GLASS STUDIOS, INC., OH
NORTHWEST ART GLASS INC., WA
1 GLASS IMPRESSIONS, WI
THE VINERY, WI
VICTORIAN ART GLASS, BC Canada
ADHESIVES/EPOXY
C & R LOO, INC., CA
ARTISANS, CO
FIRELITE FORMS & DISPLAY STANDS INC., FL
AAE GLASS, FL
THE SLEE CORPORATION, IL
SLUMPY’S, NC
BENDHEIM, NJ
WARNER STAINED GLASS, PA
AMERICAN GLASS SUPPLY COMPANY, TX
OLYMPIC COLOR RODS, WA
THE VINERY, WI
BEADMAKING EQUIPMENT AND SUPPLIES
COVINGTON ENGINEERING CORP., CA
DICHROIC INC., CA
ARTIST’S RELIABLE TOOL COMPANY, CA
C & R LOO, INC., CA
BULLSEYE GLASS RESOURCE CENTER
BAY AREA, CA
ARTISANS, CO
DIAMOND TECH, FL
INLAND CRAFT PRODUCTS, MI
EVENHEAT KILN, INC., MI
BEAR PAW STUDIOS, NJ
SANTA FE, NM
NEW YORK, NY
SKUTT KILNS, OR
GLASSCRAFT, INC., OR
PORTLAND, OR
UROBOROS GLASS, OR
WALE APPARATUS CO. INC., PA
BETHLEHEM BURNERS, PA
CG BEADS, TX
THE VINERY, WI
NORTEL MANUFACTURING, LTD., ON Canada
CANADIAN STAINED GLASS WAREHOUSE,
QC Canada
BEVELED PANELS
STAINED GLASS UNLIMITED, TX
THE VINERY, WI
BEVELING EQUIPMENT AND SUPPLIES
DENVER GLASS MACHINERY, INC., CO
ARTISANS, CO
DIAMOND TECH, FL
AAE GLASS, FL
BEVELING INSTRUCTION
DIAMOND TECH, FL
BEVELS
Brilliant Cut Bevels
ARMOUR PRODUCTS, NJ
Clusters
C & R LOO, INC., CA
GEMINI SAW COMPANY, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
KUTA GLASS ACCESSORIES, LTD., ON Canada
Colored
C & R LOO, INC., CA
PREMIUM GLASS PRODUCTS, LA
THE VINERY, WI
Custom
C & R LOO, INC., CA
ARTISANS, CO
DOBBINS ENTERPRISES LLC, NM
THE VINERY, WI
Dichroic
C & R LOO, INC., CA
AUSTIN THIN FILMS, TX
THE VINERY, WI
Engraved
C & R LOO, INC., CA
ARTISANS, CO
THE VINERY, WI
Etched
C & R LOO, INC., CA
ARTISANS, CO
Glue Chip
C & R LOO, INC., CA
ARTISANS, CO
THE VINERY, WI
Mirror
C & R LOO, INC., CA
DIAMOND TECH, FL
THE VINERY, WI
Sandblasted
AAE GLASS, FL
Straight Line
C & R LOO, INC., CA
ARTISANS, CO
DIAMOND TECH, FL
BENDHEIM, NJ
THE VINERY, WI
QC Canada
Wheel Engraved
ARTISANS, CO
THE VINERY, WI
QC Canada
BITS
C & R LOO, INC., CA
ARTISANS, CO
DIAMOND TECH, FL
AAE GLASS, FL
BENDHEIM, NJ
TECHNIGLASS CORP., NY
HANDLEY INDUSTRIES, LTD, NY
THE VINERY, WI
QC Canada
BOOKS
C & R LOO, INC., CA
HOEVEL, CA
ARTISANS, CO
DIAMOND TECH, FL
UNIQUE GLASS COLORS, FL
WARDELL PRODUCTS, FL
GLASS PATTERNS QUARTERLY, INC., KY
STAINED GLASS ASSOCIATION OF AMERICA, MO
SLUMPY’S, NC
THE VINERY, WI
QC Canada
BOX FEET
ARTISANS, CO
THE VINERY, WI
QC Canada
BRASS NAMEPLATES/ENGRAVED
BROOMS AND BRUSHES
REUSCHE & CO. of T.W.S., INC., CO
ARTISANS, CO
SLUMPY’S, NC
BENDHEIM, NJ
THE VINERY, WI
QC Canada
BUFFERS
QC Canada
BURNISHERS
HOEVEL, CA
ARTISANS, CO
THE VINERY, WI
QC Canada
CAME
Brass
C & R LOO, INC., CA
ARTISANS, CO
CHICAGO METALLIC COMPANY LLC, IL
THE VINERY, WI
CASCADE LEAD PRODUCTS, BC Canada
QC Canada
Brass-Crowned Lead
C & R LOO, INC., CA
ARTISANS, CO
THE VINERY, WI
QC Canada
Copper
C & R LOO, INC., CA
ARTISANS, CO
THE VINERY, WI
QC Canada
Curling
Cushioned
Lead
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
Reinforced
C & R LOO, INC., CA
ARTISANS, CO
THE VINERY, WI
QC Canada
Zinc
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
CAME EQUIPMENT
ARTISANS, CO
MORTON GLASS WORKS, INC., IL
THE VINERY, WI
QC Canada
CHAIN
C & R LOO, INC., CA
ARTISANS, CO
THE VINERY, WI
QC Canada
CHANNEL
THE VINERY, WI
QC Canada
CHEMICAL SUPPLIES
HOEVEL, CA
ARTISANS, CO
DIAMOND TECH, FL
JOHNSON MANUFACTURING COMPANY, IA
ANGELGILDING.COM, IL
BENDHEIM, NJ
JAX CHEMICAL COMPANY, NY
THE VINERY, WI
QC Canada
CLOCKS AND PARTS
Brass
C & R LOO, INC., CA
ARTISANS, CO
THE VINERY, WI
QC Canada
Copper
C & R LOO, INC., CA
ARTISANS, CO
THE VINERY, WI
QC Canada
Filigree
C & R LOO, INC., CA
ARTISANS, CO
QC Canada
Lead
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
Zinc
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
CLARITY GLASS DESIGN, AZ
C & R LOO, INC., CA
ARTISANS, CO
SLUMPY’S, NC
THE VINERY, WI
QC Canada
COMPUTER DESIGN SYSTEMS
A SANBORN CORPORATION, FL
COMPUTER SOFTWARE
CONSULTING
B & B ETCHALL PRODUCTS, INC., AZ
ARTISANS, CO
AAE GLASS, FL
CRYSTAL AND CRYSTAL BLANKS
C & R LOO, INC., CA
AAE GLASS, FL
DIAMOND TOOLS
C & R LOO, INC., CA
ARTISANS, CO
DIAMOND TECH, FL
AAE GLASS, FL
QC Canada
DISPLAY ITEMS
BAY AREA, CA
ARTISANS, CO
AAE GLASS, FL
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
DOORS AND ENTRANCES
DOORS BY DECORA, AL
DRILLS
C & R LOO, INC., CA
ARTISANS, CO
AAE GLASS, FL
THE VINERY, WI
QC Canada
EDGING MACHINES
C & R LOO, INC., CA
ARTISANS, CO
AAE GLASS, FL
QC Canada
CUTTING EQUIPMENT AND SUPPLIES
ELECTRICAL PARTS
C & R LOO, INC., CA
GLASS ACCESSORIES INT’L, INC., CA
ARTISANS, CO
DIAMOND TECH, FL
AAE GLASS, FL
QC Canada
THE VINERY, WI
QC Canada
DESIGN SERVICES
ENAMELS
HOEVEL, CA
ARTISANS, CO
AAE GLASS, FL
ENGRAVING EQUIPMENT AND SUPPLIES
ARTISANS, CO
AAE GLASS, FL
QC Canada
ENLARGERS
DIAMOND TECH, FL
QC Canada
FELT SHEETS/PADS/WHEELS
C & R LOO, INC., CA
ARTISANS, CO
DIAMOND TECH, FL
QC Canada
FIDS
C & R LOO, INC., CA
HOEVEL, CA
ARTISANS, CO
DIAMOND TECH, FL
BENDHEIM, NJ
THE VINERY, WI
QC Canada
FIGURINES LEAD/PEWTER
ARTISANS, CO
QC Canada
FILIGREES
C & R LOO, INC., CA
ODYSSEY LAMP SYSTEMS, CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
FINISHING COMPOUND
C & R LOO, INC., CA
ARTISANS, CO
DIAMOND TECH, FL
BENDHEIM, NJ
THE VINERY, WI
QC Canada
FLUX/FLUX REMOVER
HOEVEL, CA
C & R LOO, INC., CA
ARTISANS, CO
DIAMOND TECH, FL
BENDHEIM, NJ
THE VINERY, WI
QC Canada
FOIL
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
DIAMOND TECH, FL
AAE GLASS, FL
BENDHEIM, NJ
SANTA FE, NM
EDCO SUPPLY CORP, NY
NEW YORK, NY
PORTLAND, OR
THE VINERY, WI
QC Canada
FOIL CRIMPERS/DISPENSERS/
MACHINES/ROLLERS
HOEVEL, CA
C & R LOO, INC., CA
ARTISANS, CO
KWC, INC., IA
BENDHEIM, NJ
THE VINERY, WI
QC Canada
FRAMES
Domes
J. SUSSMAN, INC., NY
Metal
BAY AREA, CA
SLUMPY’S, NC
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
Wood
ARTISANS, CO
NORTHERN HARDWOOD FRAMES, MN
SLUMPY’S, NC
BENDHEIM, NJ
FRAMING EQUIPMENT AND SUPPLIES
ARTISANS, CO
HANDY HANGER MFG., TX
FRITS
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
DIAMOND TECH, FL
AAE GLASS, FL
SLUMPY’S, NC
SANTA FE, NM
NEW YORK, NY
UROBOROS GLASS, OR
PORTLAND, OR
CG BEADS, TX
GAFFER GLASS USA, LTD, WA
THE VINERY, WI
QC Canada
FURNACES
C & R LOO, INC., CA
ARTISANS, CO
FURNITURE
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
AAE GLASS, FL
SLUMPY’S, NC
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
FUSING EQUIPMENT AND SUPPLIES
HOEVEL, CA
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
DIAMOND TECH, FL
AAE GLASS, FL
SLUMPY’S, NC
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
UROBOROS GLASS, OR
SKUTT KILNS, OR
L & L SPECIAL FURNACE CO., INC., PA
HANDY HANGER MFG., TX
THE VINERY, WI
PAUL WISSMACH GLASS COMPANY, INC., WV
EUCLID KILNS, ON Canada
QC Canada
FUSING INSTRUCTION
DICHROIC INC., CA
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
AAE GLASS, FL
SLUMPY’S, NC
SANTA FE, NM
NEW YORK, NY
UROBOROS GLASS, OR
PORTLAND, OR
THE VINERY, WI
QC Canada
GIFTWARE
ARTISANS, CO
THE VINERY, WI
GLASS
Antique Mouth-Blown
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
Beads
C & R LOO, INC., CA
DICHROIC INC., CA
ARTISANS, CO
THE VINERY, WI
QC Canada
Bent
THE VINERY, WI
QC Canada
Blanks
BAY AREA, CA
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
PEGASUS GLASS, ON Canada
Blocks
ARTISANS, CO
Borosilicate Rod and Tubing
C & R LOO, INC., CA
ARTISANS, CO
BOISE ART GLASS, ID
UST GLASS, PA
EU GLASS, PA
THE VINERY, WI
Cathedral
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
DIAMOND TECH, FL
BENDHEIM, NJ
SANTA FE, NM
NEW YORK, NY
UROBOROS GLASS, OR
PORTLAND, OR
YOUGHIOGHENY OPALESCENT GLASS
COMPANY, INC., PA
THE VINERY, WI
QC Canada
Catspaw
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
BENDHEIM, NJ
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
COMPANY, INC., PA
THE VINERY, WI
QC Canada
Clear Sheet
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
AAE GLASS, FL
SLUMPY’S, NC
BENDHEIM, NJ
SANTA FE, NM
NEW YORK, NY
UROBOROS GLASS, OR
PORTLAND, OR
THE VINERY, WI
QC Canada
Crystal Sheet
C & R LOO, INC., CA
ARTISANS, CO
AAE GLASS, FL
THE VINERY, WI
Cylinders
ARTISANS, CO
Dalle de Verre
C & R LOO, INC., CA
UROBOROS GLASS, OR
COMPANY, INC., PA
THE VINERY, WI
QC Canada
Dichroic
C & R LOO, INC., CA
DICHROIC INC., CA
BAY AREA, CA
ARTISANS, CO
AAE GLASS, FL
BOISE ART GLASS, ID
SLUMPY’S, NC
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
UROBOROS GLASS, OR
THE VINERY, WI
QC Canada
English Muffle
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
Etched
DICHROIC INC., CA
AAE GLASS, FL
BENDHEIM, NJ
THE VINERY, WI
Faceted
QC Canada
Frosted
C & R LOO, INC., CA
ARTISANS, CO
THE VINERY, WI
Fusible
C & R LOO, INC., CA
ARTISANS, CO
AAE GLASS, FL
SLUMPY’S, NC
BENDHEIM, NJ
UROBOROS GLASS, OR
THE VINERY, WI
QC Canada
German Antique
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
Glue Chip
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
Hand-Rolled
ARTISANS, CO
AAE GLASS, FL
BENDHEIM, NJ
UROBOROS GLASS, OR
COMPANY, INC., PA
THE VINERY, WI
QC Canada
Iridescent
C & R LOO, INC., CA
ARTISANS, CO
AAE GLASS, FL
SLUMPY’S, NC
BENDHEIM, NJ
UROBOROS GLASS, OR
COMPANY, INC., PA
THE VINERY, WI
QC Canada
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
Marbles
C & R LOO, INC., CA
BOISE ART GLASS, ID
BENDHEIM, NJ
THE VINERY, WI
Mirror
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
ARMOUR PRODUCTS, NJ
THE VINERY, WI
Mottled
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
UROBOROS GLASS, OR
COMPANY, INC., PA
THE VINERY, WI
QC Canada
Nuggets
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
Jewels
Obscure
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
ARTISANS, CO
BENDHEIM, NJ
Laminated
BENDHEIM, NJ
Machine-Made Antique
C & R LOO, INC., CA
Opalescent
C & R LOO, INC., CA
ARTISANS, CO
DIAMOND TECH, FL
AAE GLASS, FL
SLUMPY’S, NC
BENDHEIM, NJ
UROBOROS GLASS, OR
COMPANY, INC., PA
THE VINERY, WI
QC Canada
Opaque
C & R LOO, INC., CA
ARTISANS, CO
AAE GLASS, FL
BENDHEIM, NJ
UROBOROS GLASS, OR
COMPANY, INC., PA
THE VINERY, WI
QC Canada
Plate
C & R LOO, INC., CA
ARTISANS, CO
AAE GLASS, FL
BENDHEIM, NJ
Prisms
C & R LOO, INC., CA
THE VINERY, WI
Pyrex Rod and Tubing
C & R LOO, INC., CA
ARTISANS, CO
AAE GLASS, FL
BOISE ART GLASS, ID
THE VINERY, WI
Semi-Antique
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
Stringers
C & R LOO, INC., CA
ARTISANS, CO
AAE GLASS, FL
SLUMPY’S, NC
UROBOROS GLASS, OR
THE VINERY, WI
QC Canada
GLASS BATCH
C & R LOO, INC., CA
ARTISANS, CO
COMPANY, INC., PA
GLASS BREAKING TOOLS
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
DIAMOND TECH, FL
AAE GLASS, FL
JUBLIEE CREATIVE, MO
SLUMPY’S, NC
BENDHEIM, NJ
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
THE VINERY, WI
QC Canada
GLASS CLEANER
HOEVEL, CA
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
AAE GLASS, FL
BENDHEIM, NJ
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
THE VINERY, WI
QC Canada
GLASS CUTTERS
GLASS ACCESSORIES INT’L, INC., CA
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
DIAMOND TECH, FL
AAE GLASS, FL
SLUMPY’S, NC
BENDHEIM, NJ
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
THE VINERY, WI
QC Canada
GLASS FROSTING CHEMICALS
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
GLASS PAINTING
C & R LOO, INC., CA
HOEVEL, CA
ARTISANS, CO
AAE GLASS, FL
SLUMPY’S, NC
BENDHEIM, NJ
MAYCO, OH
THE VINERY, WI
QC Canada
GLASS RODS
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
AAE GLASS, FL
INSPIRED FIRE GLASS STUDIO & GALLERY,
LLC, IN
SLUMPY’S, NC
SANTA FE, NM
NEW YORK, NY
UROBOROS GLASS, OR
PORTLAND, OR
UST GLASS, PA
EU GLASS, PA
CG BEADS, TX
THE VINERY, WI
QC Canada
GLASS TILES
C & R LOO, INC., CA
DIAMOND TECH, FL
AAE GLASS, FL
BENDHEIM, NJ
THE VINERY, WI
QC Canada
GLASSBLOWING EQUIPMENT
AND SUPPLIES
Blowpipe
C & R LOO, INC., CA
Cullet
C & R LOO, INC., CA
ARTISANS, CO
UROBOROS GLASS, OR
Frits
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
BOISE ART GLASS, ID
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
UROBOROS GLASS, OR
QC Canada
Glory Holes
C & R LOO, INC., CA
ARTISANS, CO
Pontils
C & R LOO, INC., CA
Powders
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
SANTA FE, NM
NEW YORK, NY
UROBOROS GLASS, OR
PORTLAND, OR
QC Canada
Rods
C & R LOO, INC., CA
BAY AREA, CA
ARTISANS, CO
AAE GLASS, FL
BOISE ART GLASS, ID
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
UROBOROS GLASS, OR
WEAVER INDUSTRIES, INC., PA
THE VINERY, WI
QC Canada
Tools
C & R LOO, INC., CA
ARTISANS, CO
THE VINERY, WI
GLAZING PRODUCTS
C & R LOO, INC., CA
ARTISANS, CO
BENDHEIM, NJ
THE VINERY, WI
QC Canada
GLUE CHIPPING GLUE
C & R LOO, INC., CA
BENDHEIM, NJ
THE VINERY, WI
QC Canada
GRINDING EQUIPMENT AND SUPPLIES
C & R LOO, INC., CA
ARTISANS, CO
DIAMOND TECH, FL
BENDHEIM, NJ
THE VINERY, WI
QC Canada
HAND-PAINTED MEDALLIONS
ARTISANS, CO
THE VINERY, WI
HARDWARE
DOORS BY DECORA, AL
ARTISANS, CO
BENDHEIM, NJ
INSTALLATION CLIPS
BAY AREA, CA
BENDHEIM, NJ
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
THE VINERY, WI
INTERNET SERVICES
BAY AREA, CA
AAE GLASS, FL
SANTA FE, NM
NEW YORK, NY
PORTLAND, OR
QC Canada
JEWELRY SUPPLIES
C & R LOO, INC., CA
ARTISANS, CO
DIAMOND TECH, FL
AAE GLASS, FL
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Continued from page 22
Brady enjoys experimenting with and teaching quick, inexpensive ways to make molds, which he dubs “DIM stuff” (did it myself). “With Master Artisan, we manufacture ceramic and stainless
steel molds and sell them to most of the major distributors in the
industry. But I am at a point in my career where I can afford to be
more altruistic and do what benefits the greatest number of people.
I’m trying to reintroduce older, simpler, less expensive techniques
that can substitute for expensive high-tech methods. We teach lots
of very basic things, including plaster of paris molds.”
Similarly, he teaches fundamentals such as really good glass cutting skills, because he is so convinced of the need for them. “I am
always amazed to find that many people who have been involved
in the craft for 10 years have only picked up just enough skill to
get by and make something. They don’t recognize how developing
really good glass cutting skills or learning the science behind fusing and slumping processes can help them up their game, reduce
their costs, and improve their chance of success. As I grow older,
I’m finding it harder to keep my inside voice locked inside when I
encounter that phenomenon.”
A favorite among the DeBrady class offerings is a Glass Art
Sampler that his sons taught in Las Vegas last year. It gives students
a taste of a variety of techniques and allows them to try out different
things before investing in one they really like. The class incorporates stained glass, fusing and slumping, embossing, sandblasting,
casting, mold making, and torchworking. “We got the best student
evaluation I’ve ever seen. Someone drew a line through our onethrough-five evaluation and wrote in 10!”
Brady particularly enjoys experimenting with new techniques
and churning ideas, and is thrilled by what the Internet now makes
possible. “I created a Glass Campus Facebook group exclusively
for members to discuss teaching or explain a favorite technique.
We now have more than 1,000 people from 20 different countries
who participate in the forum.”
Dane Brady, Wright Flier, built to scale from
the Wright Brothers’ plans, 4" high x 20" wide.
Design and pattern by Dennis Brady.
He is intrigued by how Massive Open Online Courses (MOOC)
now allow people who live remotely to connect with classes at
major prestigious universities and speculates about what promise
that trend may offer to the glass art industry. The earlier practice of
posting text materials on the Web has been replaced by material that
is created specifically for the Internet. Webinar formats are shifting
away from stop-action photography toward the use of slow-motion
photography and cartooning. It is now possible to get incredible
close-ups so that all of the subscribers to a Webinar can have the
best seat in the house.” Brady can be absolutist in his conclusion:
“Embrace the Internet as a teaching, retail, and design tool. Either
figure out how to use its potential or shuffle to the curb.”
n
ade i
dly M
Prou ands, CA
Redl
.
U.S.A
Proudly Manufacturing
Equipment Since 1848
The Importance of Good Teaching
Brady cites the importance of good teaching in maintaining
a vital glass art industry. These days he concentrates on teaching
people in the glass industry how to teach. Having taught business administration and entrepreneurial management at the university level
before getting into the glass arts, he often finds the misalignment of
teachers across the industry somewhat jarring. “Many people who
should be teaching aren’t. Many others who shouldn’t be in front
of a class are.” Both situations exact a hefty price on the industry.
“Good teachers may or may not be the best artists, but they
have a particular aptitude and personality that makes them able to
structure a class outline and keep a room full of students interested
and under control as they move through the presentation.” When
students pay their hard-earned money to competent teachers, they get
the value they paid for. He tries to impart skills such as curriculum
and classroom management that can help the artisan bridge the gap.
A few years ago Brady created an Ethical Instructor Guideline that
helps teachers find the balance necessary to deliver a good classroom
experience. It even includes a list of profiles for typical problem
students and suggests ways to deal with them so that everyone can
derive value from the experience.
“People from Venezuela and Scotland take my Webinars and
post to my Glass Campus Facebook page. One lady from Israel got
up at 2:30 a.m. her time to take a Webinar.” Brady estimates that in
the past five years, at least 30 people have come through one of his
beginner classes and gone on to become professional glass artists.
A couple of them are realizing $100,000 incomes from glass, and
he is proud of his role in their success.
Brady understands teaching as a way of paying forward in
recognition of the many people who helped him and his company
along the way. His free tutorials on Glass Campus address a broad
range of techniques, modalities, and projects, and include titles on
business, teaching, and general advice. He is enthusiastic about
helping others who want to take up glass professionally. He looks
forward to expanding his teaching, including traveling more to
teach internationally.
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Pitfalls of Perfectionism
Brady is excited by the major changes occurring across the
glass industry and what he sees as a renaissance of the glass arts,
particularly those fueled by the explosion of interest in fusing. He
observes that technological advances have driven down the costs
required to start glassworking. Brady is intent upon driving those
costs down further, and much of his experimentation focuses on that
goal. In the sandblasting arena, Brady says, aspiring sandblasters are
often told they need a $3,000 to 5,000 outfit in order to approach the
art form. “I can show them how to do respectable work for $500.”
Increasingly in his quasi-retirement, Brady focuses on experimental work. “My sons say, ‘Dad’s job is to drive as fast as possible
without skidding into a ditch.’” He delights in the fact that just a
few successes can justify a whole lot of failures and allow him to
tell everybody else what works.
Brady’s expertise is built upon a mountain of trial and error. His
philosophy is that everything we do is governed by a “Goldilocks”
syndrome. Our first efforts are too hot. The next are too cold. We do
not generally get things right until we have made multiple attempts.
A willingness to accept failure is essential in every enterprise,
Brady posits. “Fear of failure cripples so many efforts at the outset.
Whether you’re selling art, autos, or appliances, if you can’t accept
failure, you can’t make advances. You should get a job where someone else will take all the risks, but don’t expect to be rewarded on
par with someone who pushes things forward. We need to recognize
and embrace the reality that our first efforts are likely to fail.”
Brady observes that a lot of aspiring artists don’t understand the
concept or the importance of being good enough. “I don’t believe
in perfectionism and think of it as an illness. Pursuit of the best is
often the great enemy of the good.”
Launching as Professional Artists
Launching a business can be the hardest step for an emerging
artist. “Getting a business moving, getting the wheels to turn, and
breaking the inertia is the hardest part. Set the wheels straight
forward, make it move, and generate momentum before you worry
about direction. Make something. Sell it. Make something else.
During your apprenticeship, that is your task.”
Brady believes that the major difference between an amateur
and a professional glassworker is often not so much the quality but
rather the speed with which they can work. A hobbyist might take
50 hours to do something a pro could do in three or four. “I see a
lot of people wanting to transition from hobbyist to professional,
when the significant change they need to make is to reduce the time
it takes to produce a finished product. This is much more common
than needing giant leaps in quality.”
The prevailing notion that novice glassmakers must make money
coming out of the chute is one that Brady thinks is unrealistic. “When
you go to school, you don’t immediately generate an income from
what you learn in the classes. I see a lot of people with the naive
idea that they will immediately sell their product at prices equivalent to those demanded by masters. You don’t get paid during an
apprenticeship. You develop the technique, range, and expertise
that customers might be willing to pay for in the future. A famous
glassblower once told me, ‘I spent two years making nothing but
paperweights, and I developed exceptional skill in manipulating
soft glass.’ When people can’t launch their business, the problem is
often that they are unwilling to do the work that needs to be done.”
In the interim, Brady thinks the worst advice he hears given
young apprentices is: Don’t work cheap. “Unless you start by working cheap, you won’t work at all and you don’t get any better.” He
also cautions budding artisans against getting too particular in what
they will undertake. “In general, a starving artist is simply too picky
about what he will eat. You can make a living from anything. You
just have to figure out where the revenue is and go there.” Sometimes, that involves a lot of routine production work.
Look for Subscriber Benefits coming to Subscribers Only via
links in upcoming e-mails from Glass Art. This Bonus Content will
include insights from Dennis Brady on the ever-changing glass art
industry.
Dennis Brady, Irish Tweed,
fused glass weave, 10" x 10".
Dennis Brady, Owner
Victorian Art Glass
566 David St.
Victoria, BC V8T 2C8
Canada
(250) 352-9554
[email protected]
www.debrady.com
vicartglass.com
masterartisanproducts.com
glasscampus.com
Glass Campus (Facebook)
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SGAA News
Featuring the latest from the Stained Glass Association of America
SGAA Artists’ Retreat at The Elms
A
fter more than 100 years of conferences, the Stained Glass Association
of America (SGAA) took a break from its
usual conference style to offer its members an Artists’ Retreat at the Elms Hotel
in Excelsior Springs, Missouri. This
historic hotel allowed the association to
take over the resort, making it possible
for the Stained Glass School to offer six
different classes for certification during
the morning. Meanwhile, afternoons and
evenings were filled with opportunities
for stained glass artists and business
people to embrace very different interactive programs.
From demonstrations on backlighting with neon-argon gas to attending
the meeting on committee psychology,
participants were able to get out of or
into their comfort zones. “This is great!”
said one attendee. “I got to paint all
morning, then hit the spa, and I still had
time to grab Nick Parrendo’s Developing
Personal Style lecture. I loved hearing
about his early years in the craft plus
everyone and everything that made him
the artist he is today.”
Retreat Highlights
Diane Eissinger of
Belleville, Michigan, took
first place in the
“Unpainted” category.
Stained Glass Resources
of Hampden,
Massachusetts, took
first place in the
“Painted” category.
Excelsior Springs has hundreds of mineral springs, and The
Elms was the place to experience their healing waters during the
Roaring ’20s. The newly renovated Elms Hotel spa, pool, and
nature trails still proved to be a popular place during the week.
Wandering through the gardens you would discover the Live Figure
Drawing class, another first for the SGAA conference program.
VEK Art Group of Kansas City provided live, draped models in
classic stained glass poses. This popular event will be included at
future conferences.
Andy Young and Kathy Barnard both presented recent, very
innovative projects in kiln formed and laminated glass. These
lectures, plus panel discussions with local architects and a panel
discussion on restoration made for lively interaction during the
week that culminated with “Sharing Art.” Artists presented project
photos or work they had created during the week and the year. The
candid support and questions from the audience were appreciated.
One of the highlights enjoyed by both conference attendees,
hotel guests, and employees was the beautiful range of work submitted for the panel exhibition. Artists competed in “Unpainted”
or “Painted” categories, with judging by popular vote. Exhibition
Chair Michael Zimmerman felt that overall this exhibition was a
display of top-quality design and craftsmanship.
Looking Forward
to Next Year’s Conference
Another Artists’ Retreat will be scheduled at a future SGAA conference, but next
year we are off to Portland, Oregon, with
Uroboros Glass Studios acting as our local
host. Join us June 10–12, 2015, at the downtown DoubleTree by Hilton Hotel. We are
planning pre-conference classes in painting, fusing, airbrushing, and laminating.
The main conference will be packed with
technical lectures and studio presentations
as well as both restoration and business
panel discussions.
Two tours are also being planned.
During the conference, we will tour Uroboros and the Savoy Studios along with
an optional plan to tour historic Portland
churches. The city is also famous for its
flower gardens, and a post-conference tour
of the Rose Test Garden, Chinese Garden,
Formal Japanese Garden, and The Grotto
has been planned.
The Stained Glass School would also
like to invite you to sign up for October
2015 classes to be held in the Raytown, Missouri, facility. Jim M. Berberich is offering
a four-day “Introduction to Glass Painting”
class to share the important basics of glass
painting, including a demonstration of the
techniques and methods commonly used
today. Berberich will discuss tools, brushes,
mixing agents, and glass paints. The class
project will include the use of traditional
glass paints, enamels, silver stains, and a
variety of mixing agents.
Louis Curiel will be teaching a threeday class on “Concepts of Indirect and
Concealed Lighting Utilizing Neon-Argon
Units.” Students will learn the five basic
fabrication procedures to make and install
a neon-argon unit. The basic gases, pumping techniques, and torchwork, including
bends and welds, will be demonstrated so
that when students complete the workshop,
they will have an operational neon/argon
unit that can be used as an indirect lighting
source.
Meredith Gill,
untitled, 2013
Bullseye Glass
for Kilnforming
New Frit Colors
bit.ly/BEnew2014
Visit www.stainedglass.org for more
details on the many programs and opportunities provided by the Stained Glass
Association of America.
Warm Glass Studio Profile
The Art of
Commissions
Gil Reynolds, Angelscape, 12' x 15'
(approximate dimensions), 2013.
by Gil Reynolds
A
lot of people don’t like doing commission work. They don’t
like dealing with the client’s vision, and they fear rejection if
the client doesn’t like the piece. I, on the other hand, thrive on every
aspect of the process, and believe me, it is a process.
Creating custom artwork is like solving a puzzle. The more pieces
of information I have, the better my solution. I think the key to doing
commission work is perception. How much relevant information
can I perceive to help me design a site-specific piece? I really try
to take the time to study all of the aspects involved in viewing the
final piece of art before I even start designing. Here is the mental
checklist I go through when researching a site.
• What kind of lighting do I have? Is it transmitted or reflective
light or both? Is it natural daylight or artificial, incandescent
or florescent? At what angle will the light be striking the art?
• What is the viewing distance? Is it viewed up close or far
away? Are there multiple key viewing locations and angles?
• What are the established motifs, textures, colors, and surfaces? What do the existing visual elements need to round out a
finished environment?
• What do the clients believe will satisfy their needs? How
much freedom do I have? What are my budget and timeline
considerations?
The list goes on and on and it can be slightly different for each
commission.
I recently finished a project for a private residence in Central
Oregon entitled Angelscape. It was a very challenging commission
that pushed me into some new skill sets. Here is how I got from
point A to point B.
A Serendipitous Meeting
The project started when a couple came to my studio one Saturday in August 2013. We are not usually open on Saturdays, but I
happened to be there working on a project. They wanted to know
if I was the artist who made the glass wall sculpture for the Jory
Restaurant at the Allison Hotel and Spa. “Yes, that’s me.” They liked
that piece of art, and they were wondering what would it cost and if
I would be interested in making something for a large vacant wall
in their new home. “How large?” I asked. They said it was about 15
feet wide by 12 feet tall. That’s a big wall for a home.
I showed them samples from the Allison project to get a feel
for what in particular they liked about it. Was it the warm colors,
the free-form shapes, the heavily textured surfaces, or the invisible
display system that makes it seem as if the pieces are floating in
space? As we talked, they shared what worked and didn’t work for
them, and I started to get the feeling that this would be a great couple
to have as clients. They were articulate and smart, and they seemed
to understand my aesthetic. I threw out some ballpark figures, which
seemed fine to them, so I agreed to drive over and look at their site.
Gil Reynolds, Endless Flight, wall sculpture for the
Jory Restaurant at the Allison Hotel and Spa.
Viewing the Site
The three-hour drive from the Willamette Valley where I live
over the Cascade mountain range is unbelievably beautiful. There
are incredible vistas with lakes, snow covered peaks, and the seemingly endless forests transitioning from tall Douglas firs to rangeland
with stands of lodgepole and ponderosa pines. Central Oregon is
the high desert with the dry smell of juniper in the air. By the time
I arrived at their home, I was already getting used to the openness
of the area. This is big cattle county and it has a long history, first
with the Native Americans who flourished in the area, then with the
ranchers and farmers who settled there.
The couple’s home is on a hillside with a spectacular view to
the east. They can watch the sun rise each morning over the distant
Willowa Mountains. The approach to the house has a lot of native
stonework, which is a dominant visual element as you walk up the
front steps. The house itself incorporates a lot of Prairie School elements. In fact, the front door and sidelight inserts have very strong
geometric Frank Lloyd Wright–style designs.
The interior flooring and kitchen cabinets are local pine, and the
same stone used on the exterior is also used in the fireplace located
across from “the wall.” The interior walls are painted with a mattefinished light amber color, and there are large picture windows to
the right.
Eastern light is my favorite light source for glass, because it is so
balanced. It isn’t as cool as northern light, which is ideal for work
spaces and isn’t as hot as light from the west or the south. When
viewed in eastern light, cool colors tend to pop, while the warmer
hues tend to soften a bit. In the center of the ceiling is a hanging
Prairie-style fixture with incandescent bulbs for the evening, which
I also like because that light is warm without being too harsh.
The wall is a focal point for the living room and can also be
viewed from most of the adjacent kitchen area. It is a big wall with
a high ceiling and an open entryway around the corner to the left.
This is a very spacious, wide-open area that basically felt empty.
Established motifs found in the clients’ Prairie School–
style home provided inspiration, including the interior
and exterior stonework, front door insets and transom,
and an abundant use of pine.
The initially intimidating blank wall that
provided a wide variety of possibilities.
The clients said they love to watch the sun, sometimes bright
red, coming up over the distant mountains in the morning, so they
requested that the sun and mountains be part of the design. They
also really liked the unusual textured surfaces I used on the Allison
job and indicated that they were open to suggestions for the color
scheme.
There was a lot to take in, but I believed that I had a good feeling
for the space. We struck a deal, signed contracts, I got a deposit,
and I headed home.
The Design Stage
Back when I was still in art school, I became fascinated by the
concepts of the Prairie School. It grew out of the Arts and Crafts
movement in the 1890s and, much like Art Nouveau, it was a counter reaction to the industrial revolution and mass production. But
where Art Nouveau emphasized the organic, curvy lines of nature,
the Prairie School was all about simplified geometry and straight
lines. The incorporation and integration of those two schools of
thought have been dominating features in my work since the early
1970s. I love the visual tension and balance that is created when
strong geometric elements are superimposed
over curvy, organic forms.
Frank Lloyd Wright was often involved in
every aspect of a building. He referred to his
designs as “T-square art,” because they were
images he could compose on the drafting
table. He designed dining room tables and
chairs, lighting fixtures, fireplace screens,
and stained/leaded glass windows. Once
when the roof of a church he designed started
leaking, he even designed special buckets to
catch the rain water. He was also a master at
letting repeating lines and borders become a
primary design element. I researched some
of his different adornments and was pleased
to find so many examples using triangles and
the downward-pointing arrowhead motif.
I had taken about 50 pictures while I was
at the site and started going over them looking
for inspiration. I was stuck, so I printed out
several copies of a frontal shot of the wall and
started drawing on them. I kept playing with
different ideas but nothing was really working. Then it came to me. I love landscapes
for many different reasons, and maybe this is
because I take so many life drawing classes,
but I really see a lot of human forms in landscapes. I decided to incorporate a nude into a
blue mountain range that would run through
the entire piece. I hired one of the models
from drawing class to do a photo shoot and
was able to get the right angle, proportions,
and shading for a reclining nude.
My biggest kiln will only take a 3-by4-foot piece of glass, so I needed to come
up with a way to break the landscape into
small sections that wouldn’t be obvious to
the viewer. I found myself going back to the
downward arrow motif that was in the front
door and sidelight inserts.
While sketching different medallions
over the landscape, I noticed that they had a strong compositional
pull. I prefer compositions that move the eye, ones that encourage
the viewer to look around the whole artwork rather than causing
attention to be focused on just one spot. The arrows made me look
down, then the mountain peaks pulled my eye back up to the top of
the image, so my eyes were scrolling down and around in a loop.
I pulled out the old drafting board, T-square, and triangles and
drew up several different designs using various sized geometric
medallions. I got really excited about this approach. From a func50 • Glass Art TM • September/October 2014
tional standpoint, putting those shapes in front of the landscape hid
my seams, so the mountain range appeared to be one long form. I
gave the arrows a Native American feel to reference the character
of the area and make a central Oregon connection. Drawing upon
the Prairie School influence, I mimicked some of the Frank Lloyd
Wright style of lines and borders while giving them all my own
twist. I found that as I worked on the medallions, they started to
take on their own personalities. Each one was a separate work of
art, yet they were all interconnected to the larger composition. I
was having fun.
Reynolds capturing the forms and shapes he discovered while contemplating the vista from the clients’
home (top) in the design plan.
The clients liked the proposed design. It was not a direction they
had previously considered, but it worked for them. The piece was
maybe a little busy with all of the lines, but they liked the medallions and the nude in the mountains—like a reclining angel. I think
the client came up with the title Angelscape, and I liked it. I got the
green light, but now I had to figure out how to build the piece. It
was a good thing that I had a stud finder with me. I used it to make
a chart with the location of all the studs in the wall.
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Building the Art
Everyone works differently. I can’t just blow up an image to
its large size and start building. I use the enlarging process as an
added design opportunity and make changes and modifications as
I’m sketching out the image. I also need to be able to step back to
see the full size as I’m working on it, so I built a plywood wall to
scale. I hung up pieces of butcher paper and used charcoal—bold
looking yet easy to erase—and started drawing the landscape.
Having the photo of the model really helped me with the drawing.
A grid on both the photo and the large wall showing intersecting
points helped me to get my proportions.
I used some large slabs of stone as molds and made a hightemperature casting to use in the kiln, then started making different
glass test pieces. I was after a blue that was translucent and thick
enough to have a bit of an inner glow in reflection. System 96 has
some of the most beautiful blue cathedral colors around, so I made
about a dozen test pieces out of different combinations layered
together. I fired them face down on the textured stone mold, and I
loved the resulting surface.
Another consideration was figuring out how to mount these
pieces to the wall. I got some square 1/2-inch steel rods and started
making a frame. Here I ran into a problem. Cutting straight pieces
of steel and welding them into a frame worked for the bottom edge
of the mountains, but I really needed a frame that could also follow
the contours along the top of the mountains.
I took an old glory hole for glassblowing and cut a hole in the
back, hooked up a propane tank, and . . . Presto! I had a metal forge.
I stuck a metal bar inside, let it get red hot, and tried to bend it into
shape. Okay, that was harder than I thought it would be, so I went
on YouTube, found a few blacksmithing videos, and basically taught
myself some forging techniques.
That was fun, but I needed more metal. A trip to the scrap yard
netted some more metal bars, funny looking cutouts, a very cool
gear that later became the frame for the sun, and a wheat-cutting
blade from a harvester. Now I was armed and dangerous.
Having the wall was great. I tried lots of different shapes and
patterns to see how they would all interrelate, then made some
cardboard medallions and hung them on the wall. The way the pine
was used in the clients’ home was very appealing, so I asked them
for some of the same wood and made a wood-and-metal medallion,
then added pieces of glass. I was on my way to figuring this out.
Photoshop is one of my new favorite tools, and I used it to make
modifications. I would take a photo of the wall and use Photoshop
to shrink, enlarge, and move my medallions. This really helped me
fine-tune and dial in the composition.
Each time I would commit to the
placement of a particular component,
I would take a picture and adjust the
other elements.
All of the medallions needed to be
in front of the landscape, so I made
different mounting systems, each
of which would be hidden from the
viewer. I ended up using primarily
panel clips on the back of a piece of
wood, with the glass elements attached
to the front of the board. If it was
just bare glass, like the blue crackled
component, I used Hang Your Glass
standoffs.
Slabs of stone working as models for making
high-temperate castings to use in the kiln.
Pieces of blue glass fired face down on the molds
to add texture and eliminate the glossy surface.
Building a full-scale
wall to replicate the
final location using
cardboard, tape, and
chalk to “test” the
different design elements
for balance before
cutting them from glass.
Experimenting with Different Designs
So that each medallion would be very different, I began experimenting with different
looks. One is made out of 1/4-inch float glass textured over fiber paper and colored with
Fuse Master LO Enamels. Another is blue System 96 frit that was crackled, then layered
over amber so that light bouncing off of the back wall will shine through. The metal teeth
of the harvester blade made a great repetitive triangular pattern, so I cut the blade in half
and incorporated it into the design. The glass below the blade was an exercise in precision
cutting. I wanted each of the thin, dark border lines to be one piece rather than several shorter
pieces butted together. That meant cutting strips that were 1/4-inch wide by 20 inches long.
Once I got the feel, it went quickly.
To make the landscapes, all of the individual frames were welded and the outside was
used as the pattern to cut layers of sheet glass that served as the base. Then working on a
flat table, I put the frames on top of the base glass and started adding layers of frit. I made
up three frit blends, each with a different mix of colors and particle sizes, then sprayed the
base with Fuse Master Fusing Solution and sprinkled on a layer of frit. I kept adding more
Fusing Solution and frit until the 3/8-inch metal frames were filled to the top. The Fusing
Solution held everything in place much better than hair spray, and I was able to remove the
frames and fire each tile face up. When they were cool, I used a grinder to remove approximately 3/8 inch of excess glass around each piece. Once they would precisely fit inside their
individual frames, I fired them face down on the stone mold to give them a textured front.
I left my original butcher paper up and used it as a pattern, putting all of the pieces on
the wall and marking the location of each element and screw hole on the paper. Then I
made packing crates for each piece, rolled up my pattern, grabbed some tools, and headed
over the mountain.
The paper pattern was a lifesaver. I taped it to the wall and, with the help of my cousin
Mike, we drilled each hole, took down the paper, and mounted all of the pieces in about
two hours. Whew!
Everyone seemed pleased with the results. The clients were a bit blown away by the
transformation from the drawing to an actual piece of art. Even a good sketch can’t capture
how something will look in real life. It was fun seeing their delight as they discovered all
of the subtleties of the piece. It activates the wall and relates to the site on numerous levels.
I am extremely grateful for this commission and feel blessed that I was able to work with
such fascinating and challenging puzzles.
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Pioneers in Glass
Charles Correll,
King of Recuperation
“Advances in more efficient, sustainable technology are developmental and built on what came before. I didn’t invent the concept
of recuperation, but I believe I was the first to do it successfully
in a glass studio. Unless we come up with a completely renewable
resource that does not adversely affect the environment, we are not
going to be working hot glass indefinitely.”
When a Job Becomes a Life’s Work
Charles Correll, Reticello Cane and
Flat Cane Goblet
by Shawn Waggoner
C
harles Correll was thinking about efficiency and sustainability
in the hot shop long before the words “working greener” were
uttered or contemplated. Correll Glass Studio, Conway, Massachusetts, is a one-man operation that specializes in building efficient
glass hot shop equipment and creating artistic glass. Correll made a
name for himself through his skilled craftsmanship and recuperative
burner systems for both glory holes and furnaces. Today he builds
hot shop equipment for private studios and educational institutions
all over the world.
From his early stint as a glassblower at Nourot Glass Studio in
Benicia, California, to opening his first studio in Holyoke, Massachusetts, Correll has experienced many facets of the glass art world.
He began by selling his work at small fairs and advanced to premier
craft shows and art galleries around the country. His long career of
working with glass informs his knowledge about the qualities that
experienced artisans require of their furnaces.
In the early days, Correll improvised furnaces from pallets
of bricks, eventually designing and building furnaces that have
become the standard in the field. Adapting industrial techniques to
the small-scale studio, he designed and built his first recuperative
glass furnace in 1980. The new designs resulted in better glass, more
durable furnaces, and a 60 percent reduction in fuel consumption in
his own studio. As word spread and as the field changed, the need
for quality glass melters was met by Correll Glass Studio. His website now offers furnaces, annealers, glory holes, control and safety
systems, and recuperative burner systems.
Born in Houston, Texas, Correll moved with his family to Virginia in 1956, when his father got promoted to chief of accounting
for a new oil refinery. As a student attending the College of William
and Mary in Williamsburg, Virginia, he worked summer jobs for the
National Park Service until two of his friends suggested he apply for
a job as a glassblower. The Jamestown Glasshouse of 1608 was a
colonial reproduction shop that made souvenir items. “I had to heat
and open up the top of a vase successfully before they would hire
me. Today, nobody would hire a glassblower who was completely
green. Glass is one of the most difficult things to do the first time
around. They said, ‘We’ll hire you, but if you don’t shape up we’re
going to have to let you go.’”
With encouragement from the other glassblowers and with time,
Correll came to master the techniques. “You can learn quite quickly
if you only do one thing. That’s one of the advantages of a factory
situation.” He made 12 to 20 pieces an hour and describes his time
at Jamestown Glass as “the best apprenticeship I could possibly
have.” Though he began college as a pre-engineering student and
finished as a psychology major, Correll left school as a glassblower
and has done no other work in his life that isn’t related to glass.
From Apprentice to Master
A year after college his Jamestown Glasshouse job petered
out, and Correll and his college roommate took a cross-country
trip to California in a red Maverick. Though the recession of 1973
loomed heavily around the country, Correll heard of a job opening
at a new glass studio in the middle of San Francisco overlooking
Alcatraz. That April, Micheal Nourot had opened his first studio
in Ghirardelli Square in a glass gallery called The Light Opera.
Correll called and asked about the glassblowing job. “They offered
me a stock clerk job, so I said thanks anyway, and just about then
they asked what kind of experience I had. Having years of factory
experience blowing glass was unprecedented at the time, so they
had me come in and blow a piece, which I did really fast, the only
way I knew how. I blew a whole piece with one gather and without
reheating just the way I learned it at Jamestown, a demo I still do
for my students now. Their eyes got big, and they asked my name
and when I could start.”
Soon afterward, Nourot formed a partnership with Ann Corcoran, whom he married, and the Nourot Studio moved to Benicia,
California, where it is located today. Correll knew nothing about art
glass at the time, nor had he ever built hot shop equipment. Nourot,
who had worked on Murano for nine months, asked Correll to help
build equipment for the new studio.
“Micheal came home from Italy with designs for furnaces like
the Italians built—very simple stacked bricks held together with a
metal frame. These were easy to build, but totally inefficient. We
fashioned a door, a burner, a chimney, and placed a pot inside of the
furnace. That was where I learned to use tools to build equipment.”
Nourot Glass produced a line of Italian work including murrini
vases. “That stuff didn’t start selling for another 20 years. It just
wasn’t time. The incalmo pieces didn’t sell either, because that
kind of work took too much time and cost too much money then.
People didn’t know what they were seeing.” Correll’s personal line
of work included a paperweight line, enameled perfume bottles, and
a line of red strike vases, where the red top faded out to cream at
the bottom. “I was in candy land. I was getting to make whatever
I wanted to make. This was a very stimulating time, and I couldn’t
believe I was being paid $3 per hour to blow glass.”
Charles Correll,
Reticello Cane
and Flat Cane Goblet
A 14" glory hole with the Correll
Burner/Recuperator System.
Opening His Own Studio
Charles Correll,
Reticello Cane
Correll was having a great time in California, but he wanted to
advance his career by opening his own studio. He moved back East
and traveled up and down the coast looking for a place to set up shop
and sell glass. “I did not realize there was a bunch of glassblowers
on the East Coast in 1977—not nearly as many as there came to be
but way more than I expected.” He eventually settled in Holyoke,
Massachusetts, an old mill town, and opened a 3,000-square-foot
studio that rented for $187 per month including heat. He was surrounded by other shops including a foundry, tool and die cutter,
and the plastic factory that produced bubble wrap and owned the
building that housed his studio.
In 1977, he attended the National Craft Fair wholesale show in
Gaithersburg, Maryland. There it was suggested that he try to get
accepted into the American Craft Council Baltimore Winter Market,
which he did and had great success. Following his participation in
this show, sales of his work were at an all-time high. “For the first
time I knew I could make a living from my work in glass.” Correll’s
long stemmed production goblets were his best sellers.
A 200-pound pot furnace with the Correll
Burner/Recuperator System.
In 1987, wanting to escape the mill town environment, Correll
and his family moved to Conway, Massachusetts, to a 1,000-squarefoot outbuilding shop and home on five acres. “It’s only a little
more expensive to live out in the country on my own property than
in town. The first time I came out of the house and walked to the
shop with my coffee still warm, I realized it was an amazing thing
to actually live and work here.”
Correll’s studio has the capacity for two shops, with two benches
and two glory holes that can run at the same time. As an equipment builder, he has lots of it, including 200-pound, 80-pound, and
40-pound furnaces, 8-, 12-, 14- and 20-inch glory holes, two pipe
warmers, a gas garage, three annealing ovens, and two electric
garages. Now a part of his product line, Correll’s electric garage is
a top loader and end loader, so the user can run a plate of cane into
the oven from the end as well as the top. It can also be used as a hot
box or annealing oven. “I used to heat cane in a gas garage, but my
gas bill kept going up.”
An Artist Knows What Artists Want
Correll started building and selling furnaces in Holyoke in 1981.
At that time, there was no standard way to do anything. Over the
years, things have gravitated toward the mean. Furnaces are similar
now because there is generally a right and a wrong way to build them.
They are not identical, nor do they have all of the same features, but
they’re made in a similar way from similar materials.
“When I started, people were building furnaces out of anything
they could get their hands on. But we learned. There was nobody to
train anybody. A lot of glassblowers had been potters and had built
kilns before. I built rather efficient furnaces for the time because I
insulated them, unlike the typical construction at that time, which
was hard brick surrounded by soft brick. Soft brick is a terrible
insulator, and nothing like the materials we use nowadays.”
The heaviest furnace Correll built weighed about 6,000 pounds.
“It put a hurting on my pallet jack and my back when I tried to move
it. But I rolled it right onto the truck, and I waved good-bye.” Half
of the time he follows the furnace to its destination and installs it,
hooking up gas, air, and safety systems.
Computer drawing of a
“dream” glass shop created
by Charles Correll.
Charles Correll,
Reticello Cane
Correll wanted to establish a big studio like those he’d seen in
California. But after running one that was half as big with three
furnaces and two glory holes, it was using too much gas. He had
seen a failed recuperator system in 1980 on another glass furnace in
New York and took the idea home with him. On his third attempt, he
built a functioning recuperator. “By the time I got my entire studio
turned over into that design with recuperator systems and doors
on glory holes, and by paying attention to what was going on with
the furnaces—for example, closing doors, building tight doors, not
working any hotter that was necessary for the glass—my gas bill
dropped from $1,200 per month to $478. I was able to pay off my
gas bill and told my colleagues about the effects the recuperator
had. Much to my surprise somebody said, ‘Why don’t you build
me one?’”
The first recuperated furnace Correll built was in 1981 for
Salamandra Glass in Portsmouth, New Hampshire. Word spread
about the fuel savings, and people all over the world started asking
him to build efficient equipment for their studios. “Everybody was
racing because things were good, and glass was selling. As fields
mature, they differentiate and subdivide. People have specialties.
Look at the growth of the tech room at the Glass Art Society (GAS)
conference. It is now flooded with companies who build glass equipment for artists.” Ninety percent of Correll’s time is now devoted
to equipment building.
The Benefits of Recuperation
A furnace is a box with a flame going in and a chimney coming out through which combustion gases escape. The burner uses
either propane or natural gas mixed with forced air in order to burn.
Gases that come out of the chimney are hotter than the inside of
the furnace. The idea is to reclaim that heat and put it back into the
furnace. “I built a heat exchanger that operates on the same principle
as a radiator in a car. I was getting 1500°F air going back into a
furnace that was 2200°F. More of the heat that arises from burning
the gases is delivered to the furnace load (the glass). That saved 40
percent on fuel costs.”
Correll had to invent a burner system to accommodate the
1500°F air. There was no burner on the market in 1977 that could
handle that hot air and cost less than $5,000. He made it so the hot
air and gas would mix in the throat of the burner before delivery to
the furnace. “I had never seen any all-ceramic mixing systems in
industry, though it’s easy for that material to take the heat. Stainless
steel will deteriorate. If you’re using an affordable industrial burner,
it can’t take more than 800 degrees or it
will corrode, and the metal will go out of
shape. It can also be clogged with carbon due to catalytic cracking,
where the heat itself strips the hydrogen off a propane molecule,
burns it, and leaves carbon in the burner. Over time it builds up and
blocks combustion.” This phenomenon occurred to Correll the first
time he used propane with his furnace. He did some research and
found the answer in a 1930s book about glass melting.
Because steel can’t withstand those high exhaust temperatures,
Correll raised the stainless steel recuperator up in the chimney
and put a ceramic recuperator below it. His are the only two-stage
recuperators in glass or other industries.
In 2013, Correll acquired Pine Ridge Burners, a burner business
formed by Tom Ash of Paradise, California. “The Whisper burners
are for glory holes mainly and work as advertised. One hundred of
those will sell to every one recuperated burner system. Recuperators cost 10 times the money up front, but they pay for themselves
within months. I quite simply can’t figure out why people don’t want
to save money, much less not want to be greener. A colleague once
told me glory hole recuperators aren’t going to catch on because
nobody cares. But it’s our job to raise consciousness.”
BioGlass
A few GAS conferences ago, Correll was contacted by BioGlass
founder Julie Conway and invited to provide feedback and participate in the organization’s activities. BioGlass is an online think
tank and source of information for the research and development of
eco-efficient glass studios worldwide. The organization collects and
publishes the research and development in relation to the potential
utilization of renewable fuel sources and community resources to
create eco-efficient glassmaking techniques with a new perspective
in the art glass studio. Sustainable studio practices help glass artists make more profit, further educational programs, and preserve
glassmaking techniques, as well as increase the ability to protect
the future of glassmaking and simultaneously maintain awareness
of our natural environment.
Correll and other members of BioGlass provide product development, new equipment, education, outreach, and incubation
programs for artists. Its website presents research results and links
to engineering sites and websites of glass studios that are pursuing
the same goals. There is also a Facebook discussion page for specific
conversation topics including alternative fuel sources, recuperation,
and recycled glass.
BioGlass began as Skype sessions with many in the glass world
who are interested in more efficient and environmentally friendly
glass making such as Correll; Hugh Jenkins, Big Island Glass;
Christian Thornton, Studio Xaquixe; Eddie Bernard, Wet Dog Glass;
Garrett Wheeler; and Mary B White, to name a few. “BioGlass has
fostered a lot of cross pollination, and that’s what we need—people
talking to one another with the purpose of making hot glass more
sustainable and more efficient. As with any mature business or institution, change is difficult. There are many risks, and some people
play it conservatively. We need something other than conservatism
in order to survive. We have to take chances and act. I understand
why it’s difficult. I’m not going to change everything I do after all
these years, but I can change some things and decrease as much
waste as possible. On my glory hole, I’m saving a gallon of propane
per hour. I’m saving money, but also the CO2 that would go into
the atmosphere. If that glory hole were to run five days a week, 200
days a year, the recuperator would lower the amount of CO2 going
into the atmosphere by 16,900 pounds every year.”
If we have solar, wind, and hydro power and the power is delivered
to us as electricity, then we can run electric furnaces and benefit.”
As time passes, there are different shades of working greener.
Correll points out that oftentimes smoke and mirrors hide waning
commitment. “Hot glass could either go away entirely or be available only to really wealthy people to make and purchase. Machine
made glass introduced cheap glass to the market, and it takes less
fuel to make than something made by hand. That’s what we’ve been
fighting all along. But art is important. It’s one of the top three things
in life and culture. It’s worth some carbon dioxide.”
Look for Subscriber Benefits coming to Subscribers Only via
links in upcoming e-mails from Glass Art. This Bonus Content will
include more specific technical information about Charles Correll’s
recuperators and considerations for building and installing them.
The Truest Green
When he’s not building efficient hot shop equipment, Correll
works on private commissions and goblets. For the last 10 years he
has collaborated with Lucy Bergamini, who pulls cane and does the
setups from which Correll makes vessels. The work is sold wholesale
or on consignment to high-end galleries.
His commitment to eco-efficient equipment began the day he
read that for every gallon of gas we burn in our cars, 20 pounds of
carbon dioxide is released into the air. That inspired him to begin
researching and asking what we might do differently.
“People thought electric furnaces would solve our problem.
They might, if we can use green power. It may not pollute at your
shop, but it pollutes at the power plant, especially the ones that
burn coal. An electric furnace powered by fossil fuels puts out over
twice as much CO2 as a natural gas furnace of the same size with
the Correll recuperator. The power people don’t tell us, but fossil
fuel power plants are only 33 percent efficient. They have to burn
300,000 BTUs of coal to deliver 100,000 BTUs of energy to the
electric glass furnace in the shop. We can make glass sustainable.
Charles Correll working on a
Zamfirico Cane goblet.
© Copyright 2014
by Glass Art.
Charles Correll
Correll Glass Studio
66 Hidden Ledge
Conway, Massachusetts 01341
(413) 369‑4283
[email protected]
www.correllglassstudio.com
www.bioglass.org
Marketing
The Importance
of Relevant Keywords
by Mark Veit
O
ftentimes when you ask business owners about their
businesses, the response can be too lengthy. In past issues, I have referred to the elevator speech, which is a summation
of a business in 30 to 45 seconds. I recommend that all business
owners have an articulate elevator speech handy for those face-toface meetings. In this issue, though, I want to break your business
down even further into a few important “keywords.” While our
face-to-face attention span is roughly 30 to 45 seconds, our
online attention span is even shorter. By researching keywords
that best describe your business, you will drive more potential
buyers to your website.
Portrait Beads by Judy Askins
www.judyaskinsdesigns.com
Finding the Right Words
Whether you sell through a third party site or your own website,
using the most relevant keywords to describe your business will help
your online search engine ranking. The first exercise I always give
people is to sit down in front of a computer, take a deep breath, and
using Google or Yahoo, type in the first words that come to mind
when you think of your business.
Put yourself in the potential buyer’s shoes. Would that person
type in fused glass art or be more likely to type in glass art gift?
It really depends on your customer. If you are selling wholesale to
boutiques and galleries that are looking for new fused glass art to
display in their stores, those particular keywords are great. If you
mostly sell retail directly to buyers, however, glass art gift might
make more sense. By looking at your business through the buyer’s
eyes, you will gain a new perspective that you can mold into a
stronger online presence.
Another exercise I recommend is to search among your competitors’ websites. When you search for your own relevant keywords
on Google or Yahoo, take note of which businesses rank above you
and do a little research to determine why. What keywords are they
using for their products? Are there any obvious keywords that you
are missing? Is there a keyword that you see they are missing? Adjust accordingly and check back periodically to track your progress.
Rankings don’t often change overnight, so don’t get discouraged if
you don’t see immediate improvement.
Consult Your Customers
Keywords are how online customers are going to remember you.
There are several keywords that will be used by most glass artists
continually. It is, of course, important to include words such as glass,
art, and fused, but it is important to include words that identify you
and your business in a personal way as well.
A good way to research which keywords are important is to
simply poll your new and current customers. You would be surprised
at the information you can gather by asking a few simple questions
such as: How did you come across my website? or What items were
you searching for when you came across my site? By compiling this
information, you will quickly paint a picture of how your website
is perceived online. People might be finding their way to your site
via ways that never occurred to you. Capitalize on this and enhance
those keywords to bring in even more traffic.
Casting a Bigger Net
Once you have determined which keywords describe your
business the best, it is time to use them strategically throughout
your site. Be sure to tag your items with the keywords, but also use
them throughout the title and body of your listings. This will allow
the search engines to find these keywords among quality content,
which will help your ranking. If you would like to spread the word
farther, write an article about your business or what is going on in
your industry using these keywords and share it on your blog.
You can also share your articles with other top content distribution sites such as ezinearticles.com, goarticles.com, or a host of
others. The point of submitting a keyword-laced article to these
sites is that they already have a high search engine ranking. Now
people who are searching your keywords will be directed to your
article on these sites, and they can click to your site from there. If
you’re not part of these higher ranking sites, your business might
get lost in the shuffle. It goes along the lines of casting a bigger net
for potential customers.
Your homework tonight is to begin the research on your own
website through the eyes of a potential buyer. Clear your mind, take
a deep breath, and really switch places with a customer of yours.
By doing a little self-scouting, you will see your business from a
different perspective, and the knowledge gained will help you make
it even stronger.
Saw Blades and Replacement Parts
... IN STOCK ... NO WAITING!
Choose from blades and parts for the following saws:
Mark Veit currently owns and operates
www.aaeglass,com
along with partners
Tanya and John Veit. They create enamel
waterslide decals for glass artists and
sell them on their website along with
unique silver settings for glass. They
also wholesale their fused glass jewelry
to galleries and boutiques.
Constantly attending workshops,
seminars, and classes with master artisans helps Veit and his partners evolve
their work and makes it possible for
them to offer glass and jewelry artists a
unique medium to maximize their sales.
Visit www.aaeglass.com or e-mail info@
aaeglass.com for more information.
All rights Reserved.
Gemini Taurus 3
Gemini Apollo
Gryphon Omni-2 Plus+
Don’t
pull your hair
out while waiting
for your current supplier
to send you the parts that
Gryphon Zephyr
you need for your glass
saw. We have the parts in stock and ready
to ship. Most orders are delivered in 2-3
business days anywhere in the US.
Gryphon C-40
Sign up for our semi-monthly email newsletter and we’ll be happy to send a copy of our CD-rom catalog to you. Loaded with more
than just products – you’ll ﬁnd hundreds of free patterns, Spectrum’s Score mini-magazine, hot glass tips, glass history and MORE!
111 Industrial Parkway
Buffalo NY 14227-2712
www.SunshineGlass.com
A quality-conscious supplier!
Toll-free: 800-828-7159
[email protected]
GLASS
Visit our NEW website, www.aaeglass.com.
FREE Videos, Marketing Tips,
Project Pictures & Tutorials
Your one-stop shop for glass fusing supplies!
Order online, by phone, or stop in at our shop.
CLASSE S & W O RKSHO P S
• 7,000-Square-Foot Teaching Facility
& Bullseye Glass Warehouse
• 25% Off All Bullseye Products, All Day, Every Day
• Retail Store with Unique Fused Glass
& Hot Glass Supplies
• Bullseye Kiln Glass Resource Center
• Classes, Workshops & Visiting Guest Instructors
• Distributors of Bullseye Glass, CBS Dichroic,
Olympic Kilns, Covington & More
• Free Open Studio
Now Accepting Wholesale Accounts
Gemini Taurus II.2
DVDs
SE T T I NGS
DE CALS
AAE Glass Art Studio 1228 Lafayette St. Cape Coral, Florida 33904
239-471-7724
For a list of current classes & workshops, visit www.aaeglass.com.
6 Ad.pdf
1
7/9/14
3:43 PM
Bear
Paw
Studios
Custom Art Glass
C
M
Y
CM
MY
Workshops
Studio Rentals
Glass Supplies
Torchworking
Kilnworking
Coldworking
Featuring Bullseye Glass Products,
Carlisle Torches, Paragon Kilns
CY
CMY
K
www.BearPawStudios.net
The
Illustrated
Word
in Stained Glass Patterns
What’s New
Fire Mountain Gems now has an extensive line of Brass Earwires and Beads in gold-plated and silver-finished brass and steel.
Included are handcrafted earwires, beads, clasps, and hair clips in
lightweight findings for durability and tremendous value, plus a
variety of textures and finishes to add depth and light to jewelry
designs. Versatile rondelle beads feature a radiant corrugated texture. Use the bobby pins with closed loops to add charms, beads, and other ornaments, and
the hairpins with a flat, round pad to mount cabochons or other flat-backed components.
800‑355‑2137 541‑956‑7890
www.firemountaingems.com
Ed Hoy’s International extensive line of glass rods continues to
grow! New Twisted Cane is now available in both 90 & 96 COE.
Twisted Cane comes in bundles that cover a creative range
and variation. Each piece of cane is unique and one of a
kind! Check the website for more details.
800‑323‑5668 [email protected]
www.edhoy.com
Evenheat Kiln introduces the new Load-n-Go Bead Annealing Process, now featured on the Fishbone Bead Annealer,
that allows artists to make glass beads at their own pace. A
“load” portion has been added to the program that holds the annealing temperature for up to two hours. Only when you have
created all of your beads and placed them into the Fishbone
does the Load-n-Go run the actual glass bead annealing process
using the company’s professionally developed anneal settings. Load-n-Go guarantees that
all of your glass beads will be perfectly annealed every time.
989‑856‑2281
www.evenheat-kiln.com
Glasscraft has new American-made lined tubing by Rick Zimmerman to provide a quick way to bring original color combinations to your
work. The company’s original goal in 1970 was to share essential tools,
techniques, and information with a glowing community of glassworkers
continues, and that goal continues to grow.
877‑893‑9386 888‑272‑3830
www.glasscraftinc.com
D&L Art Glass Supply is excited to present Satin Shimmers,
easy-to-apply dichroic mica decal sheets that will bring an entirely
new look to your glasswork. Available in translucent and blackbacked versions, the seven different hues will bring a satin-like
luster to your pieces. For powdered mica embellishment, the
company offers a new Mica Powder set with 12 colors in 10-gram
jars for easy use and storage. Each color has been extensively
tested to ensure they produce a strong, solid color when fired to either a tack or full fuse.
800‑525‑0940 303‑449‑8737
www.dlartglass.com
Twenty-One
Inspirational Patterns
by Karen Stephenson
800-719-0769
www.GlassPatterns.com
CGBeads now has a line of CGBeadroller tools for making ear gauges that make the
job easy. Tunnels and Plugs can now be made in a fraction of the time with perfect gauge
precision in sizes graduated from 3 mm to 20 mm. The company’s tools are made from
high-quality graphite in over 150 versions designed
and produced by Donna Felkner of CGBeads.
www.cgbeads.com
Master Artisan
Products presents
MICA for the serious mica user. The
product comes in
four-ounce jars that
are available in each
of the 12 pretested
Master Artisan colors,
including Bronze, Aqua, Green, Chocolate,
Purple, Pink, Copper, Pale Gold, Medium
Gold, Deep Gold, Russet, and Silver.
(250) 382-9554
www.masterartisanproducts.com
Jen-Ken Kilns has
added the Bonnie
Glo with a pre-programmed controller
to its line of kilns.
This lightweight,
120v/13 amp kiln
is a fast-firing, all
fiberglass kiln that
can fuse glass in
about an hour, allowing for several firings a day.
800‑329‑5456 863‑648‑0585
www.jenkenkilns.com
R&R® Glass-Cast™
MOLD MATERIALS TO MEET THE SPECIFIC NEEDS OF GLASS CASTERS
Offering a variety of mold materials
to the glass casting production facility,
studio artist and hobbyist.
R&R GLASS-CAST is pleased to offer
glass casters a collection of products,
providing unprecedented flexibility
to the user.
 R&R® Glass-Cast™ BANDUST ™101
L-R: Original | Silicone Mold | Wax Pattern | Glass Casting
Created with R&R GLASS-CAST 910 investment




investment
R&R® Glass-Cast™ 400 investment
R&R® Mold-Mix 50/50 investment
800.253.4502 | www.glass-cast.com
GK Drop Bottom_4.625x3.75.ai
Glass Craft & Bead Expo
is turning 21 in 2015 and
will be celebrating at the
annual Expo to be held
at the South Point Hotel,
April 8–12, 2015, in Las Vegas Nevada.
Attendees can select from over 250 classes,
visit a show floor packed with products,
supplies, and equipment, and purchase oneof-a-kind finished pieces from their favorite
artists. Las Vegas Management will also
present a new show in July 2015, Artisan
Crafts Expo, a mixed media conference
featuring instructors and exhibitors in Art
Clay, Polymer Clay, PMC, Enameling, and
Wire Working plus manufacturers, distributors, and suppliers for the products required.
www.glasscraftexpo.com
C
M
Y
CM
MY
CY
CMY
10/29/2013
6:40:17 AM
INTRODUCING
THE GK SERIES
DROP-BOTTOM GLASS KILNS
LNS
Your ideal solution to manipulating
ng
s.
hot glass with minimal heat loss.
Professionals and hobbyists alike are enthusiastic about
boutt
our new drop-bottom action technology, which allows
for
ows fo
orr
artists to manipulate their creations while hot and malleable.
alleab
ble
e.
THE
K
Cress Manufacturing • www.cressmfg.com • (800) 423-4584
Coatings By Sandberg will be offering two-day Beginning and Advanced
Fusing Classes plus
Glassblowing available October 16–17
and 18–19, 2014. Visit the company’s website for more details.
714-538-0888
www.cbs-dichroic.com
Advertisers' Index
Advertiser
1 Glass Impressions (920) 382-1807 www.1GlassImpressions.com Page
23
AAE Glass (239) 471-7724 www.aaeglass.com 59
A.R.T.CO +1.408.288.7978 www.ArtcoInc.com 62
Bear Paw Studios www.bearpawstudios.net 60
Bullseye Glass www.bullseyeglass.com 47
CG Beads (940) 458-8322 www.cgbeads.com 45
Coatings By Sandberg, Inc. (714) 538-0888 www.cbs-dichroic.com 45
Covington Engineering Corp. (877) 793-6636 www.covington-engineering.com 43
Cress Manufacturing (800) 423-4584 www.cresskilns.com 61
D&L Art Glass Supply (800) 525-0940 www.dlartglass.com 13
Denver Glass Machinery, Inc. (303) 781-0980 www.denverglass.com 47
Ed Hoy’s International (800) 323-5668 www.edhoy.com 11
Euclid’s Elements (800) 296-5456 www.euclids.com 57
Evenheat Kiln, Inc. (989) 856-2281 www.evenheat-kiln.com 23
Firelite Forms (888) 800-3901 www.fireliteforms.com 43
Fire Mountain Gems and Beads (800) 355-2137 www.firemountaingems.com 2
Franklin Art Glass (800) 848-7683 www.franklinartglass.com 23
Fusion Headquarters (503) 538-5281 www.fusionheadquarters.com
13
Gemini Saw Company, Inc. (310) 891-0288 www.geminisaw.com
You’ve got the passion, the
drive, and the dreams ...
We’ve got the tools to make your
dreams come true.
Glass Accessories International www.glassaccessories.com 51
Glass Art Society (206) 382-1305 www.glassart.org 42
Glass Craft & Bead Expo (800) 217-4527 www.glasscraftexpo.com 41
Glasscraft www.glasscraftinc.com 51
Glass Expert Webinars™ (800) 719-0769 www.GlassPatterns.com 45
Glastar (800) 423-5635 www.glastar.com
11
Hang Your Glass (650) 353-4642 www.HangYourGlass.com 16
His Glassworks, Inc. (828) 254-2559 www.hisglassworks.com 23
Illustrated Word, The (800) 719-0769 www.glasspatterns.com 60
Jen-Ken Kilns (800) 329-KILN www.jenkenkilns.com 16
Master Artisan Products (250) 382-9554 www.masterartisanproducts.com 53
Nortel Manufacturing (416) 438-3325 www.nortelmfg.com 21
Northwest Art Glass (800) 888-9444 www.nwartglass.com 7
Olympic Color Rods (800) 445-7742 www.glasscolor.com
62
Olympic Kilns (800) 241-4400 www.greatkilns.com
19
Paragon Industries (800) 876-4328 www.paragonweb.com
21
Paul Wissmach Glass Co., Inc. (304) 337-2253 www.wissmachglass.com
64
Premium Glass Products Inc. (800) 752-3501 www.premiumglass.net 51
Professional Glass Consultants (888) ETCHPRO www.EtchMaster.com 61
Ransom & Randolph (419) 794-1290 www.glass-cast.com Skutt Kilns (503) 774-6000 www.skutt.com 408.288.7978
www.artcoinc.com [email protected]
5
61
3
Spectrum Glass Company (425) 483-6699 www.spectrumglass.com 63
Sunshine Glassworks Ltd. (800) 828-7159 www.SunshineGlass.com 59
Performance Art
Experience the PAPYROS® Kiln Shelf Paper Advantage
PAPYROS doesn’t stick to the kiln shelf so cleaning up is a snap!
PAPYROS Kiln Shelf paper continues to receive rave reviews from fusers everywhere. People
particularly like how easy it is to clean up...even when they have fused with the same piece of
paper multiple times (as they frequently tell us they do).
Watch the clean up methods and all of the PAPYROS videos at: http://www.system96.com/PAPYROS
Trial Pack Offer
We’re confident that you too will be amazed at just how well PAPYROS performs.
That’s why from now until October 31, 2014, Spectrum® Glass is offering a special
trial promotion pack:
Five 20.5" x 20.5"sheets for $15.00 — including shipping (within the Continental US)
To purchase a Trial Pack, visit:
mkt.com/spectrum-glass-co/papyros-promo
Limit one pack per customer.
PAPYROS is always available from your local Spectrum Glass supplier in full Sheets,
13" Rounds, or in one of three available Roll options.
www.spectrumglass.com
www.wissmachglass.com
[email protected]

2014-2015 Directory to Industry Supplies

Transcription

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