Glass Bead Evolution 2013 Media Kit

Transcription

Glass Bead Evolution
2013 Media Kit
2013 is an exciting year for the
International Society of Glass Beadmakers
(ISGB), the leading organization for the
promotion, education, and appreciation of
the art of glass beadmaking for wearable,
sculptural, and functional art. With its
new mission, direction, and marketing
and communications programs, ISGB is
introducing its new publication, Glass
Bead Evolution, with content that will
complement its new mission statement,
programs that move the organization forward, and directions that will make
the magazine more than a membership publication. The organization plans
on continually expanding its readership and target audience, and will strive to
provide artists, designers, educators, studios, galleries, suppliers, and museums
opportunities to reach new markets.
Glass Bead Evolution is a magazine created by beadmakers for beadmakers
and yet is inclusive of other mediums. Every issue will feature a
complementary medium while maintaining a strong emphasis on glass.
Moreover, it will be in both print and digital formats and available to both
members and non-members reaching artisans worldwide.
Glass Bead Evolution provides its readership robust content that includes
insight into artists’ private worlds, tours of fascinating venues, tips and
techniques for both glass and complementary mediums, a showcase of
exquisite work, and reviews of tools, materials, tutorials, and books.
85 East Gay Street, Suite 707, Columbus, Ohio 43215
614-222-2243
www.isgb.org
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ISGB
ISGB is currently celebrating its 20th anniversary. We hope you will join us in
our journey into the next 20 years.
Features
sample pages from inaugural issue
The ISGB is pleased to feature Kristina Logan
for the Artist Spotlight in our inaugural issue
of Glass Bead Evolution with the theme Glass +
Metal. Kristina is internationally recognized for
her precisely patterned glass beads, which she
combines with metalwork to create her signature
line of finished jewelry. If you are interested in
seeing more of Kristina’s work, visit her website at
www.kristinalogan.com.
Glass and Metal Come Together
at Rochester Arc + Flame Center
Kristina Logan
Rochester Arc + Flame Center, Rochester, New York, opened
its doors January, 2012. Michael Krupnicki, Founder and
Executive Director, had a very specific vision. He wanted a
studio designed to celebrate the enjoyment and experience of
creating art in both glass and metal; a
studio with fire and more. With that
goal in mind, the building houses
five separate spaces: a welding lab
with 16 individual welding booths;
a blacksmithing shop with five coal
forges; a flame shop with engineered
ventilation and seating for 12 for
torch work; and a kiln shop for fusing,
slumping, casting, and coldworking.
Visitors to the Center can enjoy
a wonderful display of art created
and sold by the studio’s instructors.
Equipment and materials for use in
home studios is also available for
purchase.
by Hayley Tsang Sather
Kristina Logan is one of the premier artists
in the American glass movement. Her
amazing journey parallels the history of the
International Society of Glass Beadmakers
(ISGB) spanning the last two decades. To tell
her story is in effect, a chronicle of the history
of the ISGB community.
MIG welding is a widely-used electric arc process. It requires
a MIG welder, a bottle of shielding gas, a spool of welding
wire, and personal safety gear. This is a great technique for
welding steel, even if it’s not clean (such as found objects). With
additional equipment
you can also weld
aluminum, stainless
steel, and other alloys.
Surprisingly, welding
machines are available
that plug right into
a standard 115-volt
house current, so no
special electrical wiring
The studio offers a portfolio
of programs designed to
appeal to a variety of interest
and skill levels. Programs
include half-day samplers,
one-day workshops, multiplesession evening courses, “date
nights,” afternoon corporate
team-building sessions, and
credit-bearing college courses.
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Metal sculpture by Kate Cosden
Holly’s working method plays an
important role in making her beads
so unique. An historical image she
happens upon at a local bookstore can
launch an intimate, internal, and artistic
dialogue. An unusual affinity is struck
when she falls in love with the image
– its simple texture, its unique shape,
and/or its intricate pattern. She begins
to wonder about the person and
It has been an intense decade
since Diane Sepanski started
experimenting with metal clay in
2003. Back then, she claimed she
would never make glass beads, but
one day in 2008, she was finally
coaxed into trying a lampwork
torch – and the rest
was history. That’s
a good thing since
she never gave up on
metal clay and added
lampwork to her skill
set. Diane has found
clever and beautiful
ways to combine
the two mediums. In
fact, now she says
that her favorite part
of her work is,
“… bringing it all
together.” Hence the name of her
production line, Mélange – the
French word for mixture.
When she first started this
adventure, Diane wanted friends
with a commonality, so she
founded The Metal Heads Feat of
Clay, the Phoenix-area Chapter
of the PMC Guild. After three
years leading the group and
honing her skills, it was time to
focus on her own business. Diane
started the show circuit in 2011
beginning with the Bead&Button
Show in Milwaukee, Wisconsin,
where she placed as a finalist in
its Bead Dreams Competition.
Things have taken on a life of
their own since then.
To say Diane’s work is diverse is
almost an understatement. Mixed
media, metal clay, components
and findings, and glass are all a
part of her repertoire
now. From start to
finish, her work
reflects her boundless
energy and creative
spirit. A visit to her
studio shed some light
on just how Diane
manages both a full
production schedule
and an overflowing
calendar. As busy
as she is, she made
time to respond to an
invitation to highlight
her studio in ISGB’s inaugural
issue of Glass Bead Evolution.
“Absolutely. Come visit my
kitchen,” were her exact words.
While every artist has an individual
way of doing things, most visitors
to a workshop don’t expect to face
three lively Jack Russell Terriers
and the wonderful aroma of
chicken Italian sausage and peppers
simmering on the stove. Crossing
the threshold, her words suddenly
make sense. Like in her home,
Diane’s kitchen is often the heart
of her business as well.
Backed by a strong production
team made up of collaborators
who help keep ideas flowing and
inventory up, Diane’s studio is
also her kitchen – at least on this
Clockwise from left: Paula Weiss, Rose Nash, Beth Eliason,
Diane Sepanski, Linda Sweeney. Not shown: Suzanne
Erickson, Barb Dodge, Deborah Bucher, Gretchen
Olberding, Glenda Healy.
particular day. Her studio mates,
also known as Team Sepanski,
spend their time together working
on production components for
upcoming shows.
Fellow glass beadmaker and Team
Sepanski member Linda Sweeney
says that Diane wouldn’t have it
any other way. It all flows together
and that is how she is able to
accomplish so much – exhibiting
at 12 shows a year, traveling,
and teaching – with the help of
Team Sepanski.
In the studio, four women who
make up the rest of Team Sepanski
are busy at the converted studio
| Glass Bead Evolution Volume 1 – Issue 1 – 2013
photography: David Orr
A vital element of Holly’s style is her
ability to evoke an aged look through
patina using a subtle combination of
metal leaf and flame chemistry for her
intricate stringer-decorated patterns.
To watch Holly work is to witness a
rare artistic alchemy occurring within
a simple propane-fueled flame.
Artist to Artist – Glass

by Lori Greenberg
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Holly’s experiences
as a professional
illustrator have
sharpened her skills in
visual problem solving
within very restrictive
parameters set forth by
her clients. As a contrast,
making beads offers Holly
the freedom of using her own
creative license without the
burden of a deadline or external
requirements. Her success in
creating a unique signature style
is attributable to her theory that in
restricting her tools and materials,
she is able to get closer to the
object she is creating at that moment.
To Holly, paring down the creative
process to its bare bones is the key
to art at its highest level. A limitation
of tools and materials forces her to
be more innovative. It allows her to
take what little is available and push it
to its farthest limit, resulting in artistic
richness and complexity.
important as the ground on which
it sits. The interaction between
background and pattern is crucial
in all its ramifications: color, texture,
design, form, shape, and contrast. It is
an active dance where each element
engages in a reciprocal visual play.
This idea is a product of Holly’s
fine-arts training in
which drawing is the
basis for all she does.
Diane Sepanski
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The complexity of Holly Cooper’s
work is a true reflection of the
multiplicity and richness of her
interests. Holly’s continuous pursuit of
various artistic expressions all begins
with her fundamental fascination
with pattern and antiquity. It has led
her through experimentation with
textiles, jewelry, ceramics,
and glass. Her love of
painting and drawing is
the constant that shadows
her work in other
media. This foundation
in fine arts allows her to
strategically break down
a shape and imaginatively
reform it while utilizing
the counterpoint of figure
and ground. Although at first
view her stringer patterns may
appear simple and sharp but in
truth, she has created a visual
effect through her imagination.
She realizes the need to suggest the
complexity of a pattern rather than
to state it in a literal fashion. Holly
utilizes many techniques to visually
blur the edges as a pattern is only as
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by Hayley Tsang Sather and David Olds
Glass artists need look no further than metal for adding unique
variety to their work. The possibilities are endless; from simple
pendants to large sculptural pieces, the staff and instructors at
Rochester Arc + Flame can help take things to the next level.
Modern welding equipment is affordable, reliable, and relatively
easy to use. Furthermore, the variance in techniques is both
exciting and educational. Rochester Arc + Flame offers a variety
of ways to learn different cutting and welding techniques.
Art Partners
The Patina of Life:
Holly Cooper’s
Beadmaking Journey
With the demand for other educational opportunities being
so high, plans are underway for an expansion that will include
more space for the four studios, and a glass hot shop with
multiple furnaces.
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Artist Spotlight – Glass + Medium
In its first year, nearly 1,000 people
enjoyed classes at Rochester Arc + Flame Center. The studio
offers a portfolio of programs designed to appeal to a variety of
interest and skill levels. Programs include half-day samplers, oneday workshops, multiple-session evening courses, “date nights,”
afternoon corporate team-building sessions, and credit-bearing
college courses. Twenty-five seasoned, passionate instructors
alternate teaching classes and attendance has been excellent.
Rochester Arc + Flame
Founder and Executive
Director, Mike Krupnicki
Damascus Smithing demonstration
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7
Green brooch
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Kristina’s earliest influence in her artistic path was her
mother, who was a graphic illustrator. Watching her mother
work at her drawing table made Kristina realize that she wanted
to make things with her own hands. Kristina went on to study fine arts at
the University of New Hampshire with emphasis in figure drawing and
sculpture. She was working on carving wooden sculptures with a chainsaw
when an opportunity to work as an assistant for a glass artist came about
unexpectedly. It was during her four years as an assistant that Kristina was
exposed to various ways of working with glass. Although it was on a much
larger scale, it set a sound foundation as well as the stage that supported her
artistic explosion.
Blacksmithing student working
a hot piece of metal
by Kendra Bruno and Michael Krupnicki, Founder and Executive Director
Rochester Arc + Flame Center LLC, and President, Mahany Welding
Supply Co., Inc.
Guided Tour


Mini Birdhouse
Mini Birdhouse
with Melanie Hazen
Heat the tail dot, touch it with the tip of
the rod, and pull out slightly to make a
tail point.
Add a TINY dot of reducing glass to the
head dot to make the beak.

Using the end of your rod, pull the beak
to a point.
by Angie Ramey

Tiny Bird Bead
Add a small dot to each side to make the
wings. Heat the first wing dot and push in
with a razor tool to make two lines in the
wing dot. Repeat with second wing.

Increase the propane and flash the bead
in a reduction flame to add a metallic
finish to the beak.
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What You Need
• Glass rod color of your choice
• One rod or stringer of
reducing silver glass
• 1/16 mandrel and bead release
• Razor tool

Slightly heat the tip of the first wing dot
and pull it with the cold rod toward the
tail to make a wing-shape point. Repeat
with second wing.

Pop the tiny bird bead in the kiln.
What You Need
Materials
• 24 gauge copper sheet
• Black permanent marker
• Steel wool
• Small wooden craft cubes
and roof triangles (or
wooden square dowels
cut to size) – cube in
demonstration is 1/2 inch
• Scrapbook paper in different
patterns
• Mod Podge
• Cotton swabs
• 16 or 18 gauge copper wire
• Craft glue
• Lampworked tiny bird bead
• Copper jump ring
• Liver of sulfur or verdis gris
patinas (optional)
Tools
• Metal shears
• Metal files
• Twist punch
• Texturing or riveting
hammer
• Jewelry pliers – round, chain,
and flat nose
• Dremel or other small
handheld drill
• Hole punch
• Flush cutters
Begin with the roof of the birdhouse.
Measure a rectangle of sheet metal 1-1/2
inches long by 3/4 inch wide (38mm x
19mm) and cut out with the shears. File
the corners to knock off the sharp edges.

Mark the center with a permanent
marker.

Twist punch or drill a hole for the wire.

Texture the roof with the texturing or
riveting hammer.

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Make a small donut bead on a 1/16
mandrel. Add opposing dots for the head
and tail. Heat the head dot and remove
from heat. Turn the bead upside down to
give the head a slight upward tilt.
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ISGB
Tutorial
Departments
TOOL
T U TOR I A L
sample pages from inaugural issue
Goldstone is easily burned and should
be kept out of the flame to preserve its
shine.Yet not everyone uses goldstone for
its shimmer.
Experienced
lampworker,
Sheila Davis,
suggests, “To
get a verdigris
patina look,
apply goldstone
frit and then
wrap the bead in silver foil and melt in.” The
photo above shows Sheila’s verdigris patina
technique applied under encased
goldstone stringer.
To make encased stringer with goldstone
beads, heat a large gather of glass, poke
a hole, reheat the glass, and plunge a
goldstone bead inside. A quick heat of the
open edges allows one to fold them over
and keep the goldstone shimmery. Heat
the gather until the goldstone turns red
and pull into a stringer.
by Kendra Bruno
Thinking about
Renaissance
as the theme
for the 2013
Gathering, I
was drawn
back to a book
I have owned
since 1989, The
History of Beads
From 30,000 BC
to the Present,
by Lois Sherr Dubin. When I took that
book off the shelf I realized that about two
years ago, I had purchased the updated
version, The History of Beads: From 100,000
B.C. to the Present, Revised and Expanded
Edition and promptly forgot about it. What
was I thinking? Who can ever get enough
beads and history? With 2013 on my
mind, I picked up the newer version, and
with great anticipation began my second
in-depth exploration of Dubin’s incredible
classic work.
The engaging update does not disappoint.
With a new cover, it is beautifully packaged
and is filled with full-color photographs
that were originally published in black and
white. The bonus is, with those original
72 images, more than 120 new ones were
added to the latest edition – along with
spectacular maps which have also been
modernized and are now in color. Like its
predecessor, this version has the not-tobe-missed, eight-page timeline of beads
throughout history! These things alone are
worth the investment to own this stunning
source of information.
Three X Two
As I poured through the pages, I stopped
to do a bit of comparing and I have to
say, every chapter has been updated.
From the addition of the oldest bead
ever discovered to a wonderful focus
on glass beads, in reading the invaluable,
fresh content I was truly reenergized
and found new conviction for my
passion. That, which for centuries has
captivated lampworkers and challenged
our imagination on how to wear it,
display it, and enhance its beauty was just
as exciting to me now as when I began
my studies nearly ten years ago. I was
reminded that the world’s first form of
adornment is deeply rich in history, and
the study and understanding of this story
brought me full circle to where I am in
my work today, my creativity, and how it is
has been influenced.
This definitive guide is a must-have for
everyone who has the first edition and
wants even more updated information,
for anyone who loves beads, is an artist,
collector, or on a quest to just understand
the history of these amazing wonders.
It was a 22-year labor of love from Lois
Sherr Dubin, an old volume, an updated
publication, and my own pursuit of a
renaissance that intrigued me to go back;
back to the roots of what was once
used to represent social stature, political
affiliation, economic status, and religious
belief. Sometimes coming full circle is
a revival that we all need. I encourage
you to read one or both volumes…
fall in love with beads again, find your
own renaissance.
If you like fun disk shapes and the ability to
make a bunch of disks the same size, check
out these great tools at www.cgbeads.com.
between the International Society
of Glass Beadmakers (ISGB) and
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to create three similar focal beads
which would be incorporated by
a metalsmith into pendants, rings,
or brooches. The beadmaker and
metalsmith each retained one of the
conference, at Facèré Jewelry Art
Gallery in Seattle, and was available
for sale to the public.
This exhibition reinforces the theme
of the inaugural issue of Glass Bead
Evolution – Glass + Metal. The ISGB
A catalog documenting this amazing
exhibit is available for $25 as a print-ondemand book. To order please visit:
The work of art chosen by the glass bead
artist was their inspiration in creating a
piece that reflects what it means to be alive.
Favorite pieces of art served as inspiration
to interpret the colors, shapes, notes,
rhythms, and words transformed into a
piece of finished jewelry. Members were
encouraged to use multiple mediums for
their work such as seed beads, fine metal,
metal clay, fibers, etc. The focus of the
challenge was to showcase how handmade
glass beads were incorporated into
exhibition-quality jewelry.
A catalog documenting this incredible
exhibit is available for $20 as a print-ondemand book. To order please visit:
www.isgb.org/isgb-publication.html
Fire and Rain Glass Bead
Society
Houston Society for Glass
Beadmakers
Society of Artisan Lampworkers
in San Antonio
So Cal Flame Surfers
Southern Flames
Glass: Kathryn Fehon + Metal: Virginia Causey
2013 is an exciting year for the International Society of Glass
Beadmakers (ISGB). With our new mission, direction, and
marketing and communications programs, we are introducing a
new publication, Glass Bead Evolution. We plan to fill the magazine
with content that will complement our new mission statement,
“To preserve the rich and diverse traditions of the art of glass
beadmaking and glassworking techniques; promote educational
initiatives and professional development; and encourage innovative
use of complementary mediums among artists and craftspeople.”
Glass Bead Evolution is a magazine created by beadmakers for
beadmakers and yet is inclusive of other mediums. Each issue
will feature a complementary medium while maintaining a strong
emphasis on glass. Moreover, it will be available in both print and
digital formats and to both members and non-members, reaching
artisans worldwide.
Within Glass Bead Evolution, look for robust content that includes
insight into artists’ private worlds, starting with the inaugural
issue’s feature artist, Holly Cooper, who shares her work, her
sketches, and her fascinating methodology. The theme of Glass
+ Metal in this issue features Kristina Logan. Her journey in
glass not only parallels the history of the ISGB, but her intricate
work using glass in combination with metal is unsurpassed in our
community. We visit the studio of Diane Sepanski, who created a
successful business with her team, utilizing metal clay with glass.
We venture into the facility of Rochester Arc + Flame and all
that it has to offer – sharing equipment and techniques you can
utilize with your glass projects… or on their own. Learn how
to create something with glass and metal with Melanie Hazen’s
playful Mini Birdhouse tutorial. We present pieces from the Three
X Two exhibition – a collaborative effort between the members of
the ISGB and metalsmiths from the Seattle Metals Guild – as the
first Encore showcase. Lastly, we round out the content with four
engaging reviews featuring Kerri Fuhr’s Dragonfly Tutorial, shimmery
goldstone glass, CG Beadroller disk tools, and a fantastic book on
the history of beads.
Publishing a completely new magazine under serious time
constraints is quite an undertaking. The only reason we were able
to accomplish this daunting task and get the publication out on
time is because a few individuals agreed to take on the role of
interim contributing editors for this first issue. I want to give a
heartfelt thank you to my fellow board members, Angie Ramey,
Susan Sheehan, and Deanna Chase, as well as Kendra Bruno, ISGB
Executive Director, and Lori Greenberg, former ISGB Regional
Director. Most of all, I want to thank Stephanie Crider, who at the
very last minute dove in and helped to proofread and edit every
single word in the publication.
We hope you enjoy the look and feel of the new publication, and
look forward to introducing you to the new editorial staff in the
next issue. We are excited to bring you more fresh and interesting
content as the magazine continues to grow and expand.
Hayley Tsang Sather
Editor in Chief
ISGB Director of Communications and Marketing
The ISGB is a leading non-profit organization
for the promotion, education, and
appreciation of the art of glass beadmaking
for wearable, sculptural, and functional
art. Our mission is to preserve the rich
and diverse traditions of the art of glass
beadmaking and glassworking techniques;
promote educational initiatives and
professional development; and encourage
innovative use of complementary mediums
among artists and craftspeople. We invite
you to join us on our journey through
collaborative creativity in the worlds of glass
and complementary mediums.
ISGB Board of Directors
Terry Hale, President
Angie Ramey, President Elect
Susan Sheehan,Vice President / Director of
Organizational Support
Deanna Chase, Treasurer / Director of Finance
Hayley Tsang Sather, Director of
Communications and Marketing
Margie Shanahan, Director of Education
Annemarie Herrlich, District Director –
Southeast, East Central, Northeast, North
Eve Nagode, District Director – West, West
Central, Canada, International
Kris Schaible, District Director – Mid-Atlantic,
Northwest, Southwest, South
ISGB Regional Directors
Amy Waldman-Smith, Canada
Lisa Atchison, East Central
Debbie Dunkerton, International
Kris Schaible, Mid-Atlantic
Annemarie Herrlich, North
Suzanne Angell, Northeast
Laura Bowker, Northwest
Nina “Sam” Hibler, South
Beth Somers, Southeast
Penny Dickinson, Southwest
Jim Kervin, West
Eve Nagode, West Central
ISGB Staff
Kendra Bruno, ISGB Executive Director
Sarah Riggle, Administrator
Laurie Ament, Advertising Sales Representative
85 East Gay Street, Suite 707
Columbus, Ohio 43215
614-222-2243
www.isgb.org
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Glass: Melody Lynch + Metal: Aaron Barr
Encore
Joy Munshower
Julie Nordine
Sheila Olason
Kristen Frantzen Orr
Tanja Ostwald
Connie Paul
Sharon Peters
Kathy Phillips
Joan Prichard
Donna Prunkard
Angie Ramey
Diana Dugina Riebling
Elizabeth Ross
Hayley Tsang Sather
Kris Schaible
Stephanie Sersich
Diane Sepanski
Susan Sheehan
Katherine Spignese
Ed Slawson
Virginia Dejewska Slawson
Toni Tracy
Heather Trimlett
Helen Tsang
Nicole Valentine-Rimmer
Ali VandeGrift
Amy Waldman-Smith
Jeri Warhaftig
Gail Warner
Debby Weaver
Debra Weiss
Beth Williams
Diane Woodall
Stefani Woodams
Ikuyo Yamanaka
Glass: Stephanie White + Metal: David Hamilton
a showcase of innovative and
inspirational work.
Journey is a glimpse into the evolution
of ISGB members who have chosen
to share their personal growth
in beadmaking while supporting
our organization. This fundraising
effort was open to all members,
from newcomers to well-known
lampworkers, or somewhere in
between. Some chose to show just
their current work while others
included a visual timeline from their
early days working with glass to now.
Eighty pages plus cover, Journey features 77 ISGB members and
five chapters and is available for purchase as a PDF download
for $15 or as a print-on-demand book for $39 plus shipping. To
order, please visit:
Participants:
Reghina Allen
Debbie Armstrong
Ann Scherm Baldwin
Carolyn Baum
Bonnie Blincoe
Laura Bowker
Carol Bugarin
Elizabeth Bunn
Judy Carlson
Terri Carol
Ellie Cesario
Deanna Chase
Michele Coletti
Holly Cooper
Deborah DiMarco
Linda Edmunds
Neil Fabricant
Kathryn Fehon
Alicia Felton
Stacy Frost
Melanie Graham
Kathryn Guler
Terry Hale
Heidi Hardner
Harriet Harrison
Verna Hedgecoth
Mary Ann Helmond
Terry Henry
Deborah Herzog
Nina “Sam” Hibler
Bob Hoffmeyer
Valérie Jan
Sharyl King
Karla Klein
Marcy Lamberson
Marjorie Langston
Nohline Sharp L’Ecuyer
Kristina Logan
Melody Lynch
Priscilla Martin
Shelley Glee McLaughlin
Rebecca Moore
Vicki Munie
Glass: Heidi Hardner + Metal: Jennifer Forland
is delighted to share some of these
amazing pieces as the first “encore,”
ISGB members,
either as a solo
artist or with
partner(s) of
their choice
were invited to
participate in
this exhibition.
They were
asked: What
piece of art
moves you? What painting leaves you
breathless with its sheer beauty? What song
touches your soul? Is there a photograph
that hits you with overwhelming emotion?
Maybe it’s an art installation or sculpture
that takes you away to another reality,
perhaps it’s a work of cinema.
Glass: Anita Spencer + Metal: Nadine Kariya
Gathering, the ISGB annual
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Eight issues of The Glass Bead magazine
from 2011 and 2012 are available
for purchase in PDF format. To order,
please visit:
Convergence III
Inspirations and Interpretations – Art
Glass Bead Jewelry Inspired by Other
Works of Art
Glass: Dan Adams + Metal: Victoria Takahashi
finished pieces. The third piece was
displayed during the 20th anniversary
J OURNEY
CONVERGENCE I I I
CONVERGENCE I I
THE GL ASS BEAD
The Glass Bead
Did you
ever wonder
what type of
bracelet might
have been
worn by the
Greek goddess,
Persephone
of the
Underworld?
Or perhaps
what style of necklace Sigmund Freud
might design? Enjoy a copy of this catalog
and discover how members of ISGB found
inspiration in persons of fact and fiction
in this phenomenal juried exhibition.
Convergence II features 55 pieces of
stunning jewelry – including necklaces,
brooches, and collars – all created with
handmade glass beads. Each piece is
inspired by a person from history, real or
imagined, and designed accordingly.
Glass: Lisa Atchison + Metal: Adrienne Krieger
metalsmiths from the Seattle Metals
Guild. ISGB members were invited
Reviews – Tutorial, Glass, Tool, Book
Convergence II
Adorning the Past, Present and
Pretend
Glass: Lee Woodburn + Metal: Chuck
Domitrovich
Three X Two is a collaborative effort
31
One of the many avenues to eye-catching
beads, goldstone is a must-have staple in
any lampworker’s glass supply. Goldstone
frit is available at many lampworking
suppliers and goldstone beads are available
at Fire Mountain Gems.
Whether we’re
talking about the
smallest spacer
disk beads or
the largest
mega disks,
I’ve found the
easiest way to
use the rollers is
to start with a nice even footprint slightly
smaller than the opening of the cavity.
Then add more glass to the footprint, but
never again touch the glass to the mandrel.
This will help to keep your base from
getting too big to fit the cavity. Because
the beadrollers come in graduated sizes,
it’s easy to test how big the bead is and
move up to the next cavity if necessary.
There are even beadrollers that are long
and skinny with up to seven sizes, making
them perfect tools for production work of
multiple beads on a single mandrel.
The History of Beads Then and Now
Using goldstone frit, one can achieve simple
sparkle by rolling a colored core in the frit
and encasing in clear. Use it as a background
for further embellishments or on its own,
either way the look is captivating.
My current collection consists of disks,
disk rings, and ribbed-style disk rollers in
a variety of sizes ranging from spacers to
mega disks. I’ve been using these tools for
well over two years now, and each and
every one is
holding up
wonderfully,
despite my
abuse. The
graphite in
each roller is as
smooth as the
day I purchased
them. The tools themselves are lightweight,
which is important if one is making a
bunch of beads in a single session, and the
handles are a nice comfortable size with an
attractive fire design.
37
Beadmakers love shiny things. We are
drawn to shimmery metals, lustrous silver
glass, and sparkly crystals. One of the
tried-and-true methods to get sparkle into
a glass bead is goldstone. Available as frit,
chunks, ribbons, and even strands of beads,
its uses are numerous.
When it comes to CG Beadrollers, I think
I may have a problem – the good kind
– the type of problem that means your
workbench is overflowing with fabulous
tools. Yes, I admit it. I’ve got a bit of a crush
on my disk beadrollers.
Kerri’s Dragonfly tutorial costs $22 and
can be purchased in her Etsy shop,
www.kerribeads.etsy.com. Several other
tutorials such as her Raven, Honey Bee and
Tapestry tutorials are also available. To read
more about Kerri’s work, classes and show
schedule, or to see an expanded gallery of
her creations, visit www.kerrifuhr.com.
by Susan Sheehan
36
The photographs in the tutorial are well
done – from winding on and shaping
the base bead, to pulling, applying, and
manipulating hair-thin glass stringers to
add fine details – each step is perfectly
illustrated. The written instructions are
clear, concise, and informative, yet written
in a fun tone. Kerri also makes a point to
warn the reader of things that could go
wrong and ways to avoid or correct them.
Few tools are required to complete the
tutorial, and the instructional portion is
illustrated with basic common colors that
are easy to find. Following the tutorial is
a gallery of photographs showing many
different possibilities for designing beads
using the dragonfly motif. This eye-candy
section of Kerri’s work is so inspiring
that it will leave readers wanting to add
dragonflies to all of their beads.
Goldstone
Kerri Fuhr’s beautiful glass creations bring
to life a varied menagerie of creatures, but
anyone who has followed her work for a
long period of time probably first fell in
love with her dragonflies. Kerri’s Dragonfly
Tutorial is
a perfect
marriage of
instruction
and inspiration.
While it is
geared toward
lampworkers
with at least
intermediate
skills, beginners
with minimal experience can also take a
lot of useful information from it to further
their skill set.
G L A SS
by Angie Ramey
BOOK
CG Beadroller – Disk
by Deanna Chase
Dragonfly
|
ISGB
From the Editor
3
Publications
Contact
Specifications
Laurie Ament
[email protected]
607-379-4303
PDF – PDF/X-1a – format preferred in CMYK with
all the fonts and images embedded. Images must
be in minimum resolution of 300 dpi at 100%
actual size.
2013 Editorial Calendar
Arrangements may be made to submit RGB/JPG
format.
Submission
For files under 5mb in size
Email electronic files with your company name,
size, and issue in the subject line to:
Laurie Ament
[email protected]
For files over 5mb in size
Upload your file with these
fields filled in:
Your Name
Your Email
Transfer Name – your file
name(s)
Optional Message – your
company name, size, and issue
www.transferbigfiles.com/dropbox/isgb
Color matching
For accuracy, please send a high-resolution color
proof of your ad. Without a color proof, ISGB
cannot guarantee exact color reproduction.
Hayley Tsang Sather
5758 Geary Boulevard #161
San Francisco, CA 94121
ISGB
Issue 3: Glass + polymer clay
Reservation deadline: 1 September, 2013
Ad submission deadline: 15 September, 2013
Publication date: Late November 2013
Hayley Tsang Sather
[email protected]
|
Issue 2:
Glass + found objects/steampunk/electroforming
Reservation deadline: 1 May, 2013
Ad submission deadline: 15 May, 2013
Publication date: Late July 2013
To make arrangements and/or if you have any
questions, please email:
4
Issue 1:
Glass + metal
Reservation deadline: 15 January, 2013
Ad submission deadline: 30 January, 2013
Publication date: Late March 2013
Ad Size
Dimensions
width x height Non-
Members
Members
1 x
1 x 3 x +
Affiliate and
Corporate
1x 3x+
Back cover
n/a
n/a
n/a
Inside front / back cover
n/a
n/a
n/a
685
625
Full page / bleed
$ 755
$ 675
$ 575
625
525
Bleed 8.50" x 11.00" Trim 8.25" x 10.75"
Live area 7.75" x 10.25"
$ 850 $ 770
Full page / non bleed 7.00" x 9.75" 755
675
575
625
525
1/2 page horizontal 7.00" x 4.75" 515
475
405
425
355
1/2 page vertical 3.35" x 9.75" 515
475
405
425
355
1/3 page square 4.57" x 4.75" 455
415
345
365
300
1/3 page vertical 2.125" x 9.75" 455
415
345
365
300
1/4 page 3.35" x 4.75" 395
350
295
300
245
1/6 page horizontal 4.57" x 2.22" 250
n/a
200
n/a
200
1/6 page vertical 2.125" x 4.75" 250
n/a
200
n/a
200
Premium classified 350 characters
175
150
125
100*
n/a
including spaces
with 1" x 1" image
Rate Policy
Singular ad placements are invoiced at the time of the ad placement. Terms: Net 30 days.
Multiple insertion rates are based upon a prepayment commitment and a signed contract.
Full payment for all the placements is invoiced at the time of the first placement. Installment
payments may be pre-arranged. If a full payment for all ad placements is submitted within 30
days of the first invoice, a 2% discount can be applied.
|
Corporate members to announce new or featured products without having to redo their ads.
5
multiple insertion rates. This special premium classified advertising allows our Affiliate and
ISGB
* This opportunity is for current Affiliate and Corporate members who are under contract for
Full page / bleed
Bleed – 8.50" w x 11.00" h
Trim – 8.25" w x 10.75" h
Live area – 7.75" w x 10.25" h
6
|
ISGB
Full page / non bleed – 7.00" w x 9.8" h
1/2 page horizontal – 7.00" w x 4.75" h
7
|
ISGB
1/3 page square – 4.57" w x 4.75" h
1/3 page vertical –
|
ISGB
2.125" w x 9.8" h
8
1/2 page vertical – 3.35" w x 9.8" h
1/4 page – 3.35" w x 4.75" h
1/6 page vertical –
1/6 page horizontal – 4.57 " w x 2.22" h
9
|
ISGB
2.125" w x 4.75" h
Premium Classified Ad Samples
Advertising Terms and Conditions
All invoices are due and payable within 30 days of invoice. All unpaid
balances are subject to a .5% per month (6% per year) interest rate charge.
*NEW* Micro Mini Imprinters
By Karen Leonardo
http://www.leonardolampwork.com
$29.99. Register on the New
Website site
for upcoming
sales. Micro 6.5
mm pattern
tool head. Five
designs: Sun,
Wave, Pawprint,
Puffy Heart, Pinwheel. New designs
in the works. Will offer them when
available. American Made. Ask about
our NEW custom logo/monogram
imprinters too.
Your Precious Dog in Glass
by Marcy Lamberson
www.MarcyLamberson.com
Custom whimsical
glass portrait
bead of your dog
- face focal bead
$48 or full body
sculpture $68
made just for you.
Send clear photos of their face close
up and for full body from the side.
Great personalized present. Email
Marcy at [email protected]
Reduction in advertisement frequency following commitment will result
in a surcharge equal to the difference between the multiple and single
insertion rates for all past insertions as well as the remainder of the
committed term. Reduction in advertisement size following commitment
will result in a surcharge equal to 50% of the difference in insertion rates
between the initial and revised advertisement term.
The Advertiser may not cancel orders or make changes in advertising after
the reservation deadline. Cancellation of any portion of a contract nullifies
all rate discounts for the remainder of the committed term.
The Publisher reserves the right to cancel the contract upon default in
payment or breach of any provision herein, and all unpaid charges shall
become immediately due and payable in full.
The Publisher reserves the right to reject or cancel any advertisement
which, in the opinion of the Publisher, does not conform to the standards
of the publication.
The Advertiser will be charged for any additional preparation or production
work required to publish the advertisement.
The Publisher is not responsible for any loss or damage to any material of
the Advertiser while such material is in transit, or in the possession of the
Publisher for more than three months.
The Advertiser recognizes that the quality of reproduction of an
advertisement is largely dependent upon the quality of the material
furnished by the Advertiser to the Publisher, including without limitation,
the quality of the photographs, digital files, etc.
The Advertiser recognizes and agrees that the Publisher shall not be liable
for: a) delays in publication of the magazine; b) failure to publish the
magazine; c) distribution or deadline date changes; d) defects in quality
(i.e. errors or omissions) where such defects are not solely the fault of the
Publisher; but, where they are, the Publisher’s liability in no event shall be
more than: 1) returning all or a portion of the fee for defective advertising;
or 2) running a replacement advertisement (or “comp”); or running
another advertisement at a reasonable discount, which discount shall be
proportionate to the degree of error or extent of the defect.
The Publisher, in its sole discretion, may accept or reject all materials
submitted for advertising. The Publisher reserves the right to refuse to
publish any material not in keeping with Glass Bead Evolution or the
International Society of Glass Beadmakers editorial philosophy, style, or
standards.
|
ISGB
Studio 34 Creative Arts Center
and Gallery, LLC
Upstate New
York’s premier
public access
glass and metals
studio. Twenty
six professional
faculty and
world-class visiting artists. Small class
size. Retail store for books, tools,
glass, metals, kilns, torches. Torch and
bench rental. 585.737.5858
www.studio34creativeartscenter.com
[email protected]
Singular ad placements are invoiced at the time of the ad placement.
Multiple insertion rates are based upon a prepayment commitment and a
signed contract. Full payment for all the placements is invoiced at the time
of the first placement. Installment payments may be pre-arranged. If a
full payment for all ad placements is submitted within 30 days of the first
invoice, a 2% discount can be applied.
10
advertisement
Form 313040

Glass Bead Evolution 2013 Media Kit

Transcription

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