June/July, 2014 - Vol. 28, No. 1.
April/May, 2014 - Vol. 27, No. 6.
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In This Issue
1 1/2 inch, 24K Gold Fume Rose Implosion Marble by Freddy Faerron
For a gold fume implosion marble, you can use any type of gold you choose at or above 22k. Coin, casting grain, and wire are available at gold base prices. The hues of color will vary slightly by karat, from orange hues at the 22k range to red hues at 24k. This demo follows a vernacular base. You can make changes in the size of clear and color rods, patterning of the petals, and backing styles to create your own expression. You can also change the final size of your marble by changing the size of tubing you are imploding. I use a GTT Delta for this demo
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For surface decoration, I create complex geometric patterns and space-related landscapes using striking glasses containing silver and other reactive metals. These formulations also allow me to produce unique combinations of colors and patterns.
This tutorial outlines one of my styles of complex surface decoration. It starts with a finished but unbacked marble that has been produced on clear rod. The design requires mastery of several surface techniques, an understanding of how to work with striking borosilicate colors, and knowledge of flame chemistry. Appropriate flame chemistry and working characteristics of the colors will vary considerably depending on the color itself and the torch used.
Care should be taken when planning a design to choose colors that are chemically compatible and have similar working characteristics. If that is not possible, the sensitive colors, such as whites and other opaques, have to be encased in layers of clear. The black color I chose for the initial backing requires an oxidizing flame or it may reduce and become gray. Experience with the various colors is key
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Aloha from Maui. It’s time again to explore the borosilicate striking palette, so grab some color, fire up your torch, and get ready to cause some hot reactions!
Here is the lineup for what we will be melting this time around.
Glass Alchemy
Singular Passion
Triple Passion
Momka
Silver Beach
Silver Flambé
NorthStar
Alaskan Thunder
English Ivy
Trautman
Mai Tai Pink
Penumbra
Because it has been awhile since the first installment in this series, here is a reminder of the different strikles (shop slang for striking cycles) that I run
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Soft Glass Marble with a Bunch of Mushrooms by Masayoshi Sato
The stems were attached to clear rods in preparation. Make seven of them and some extras.
Melt the tip of the stem cane. I am left-handed so I may be using the opposite hand to some of you
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I have found that blending color properly takes considerable practice and an understanding of the colors themselves. By using different flames, color combinations, and striking techniques, I am capable of producing a wide variety of vibrant colors. Many of the processes I use are a product of trial and error. As an artist, it is important to be able to adapt and improvise as needed. I look for the opportunity to expand my knowledge through an understanding of my own work.
From small carved pieces to oversized medallions, I take the utmost pride and care in making my pendants. By implementing my color blending, patterning, carving, and style variation, I have come up with a product line I am confident will help me along my journey. I look forward to sharing my work for years to come. Welcome to the depths of space and the magic behind the dancing nebula
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My first flower marbles had only one or two petal colors. While I loved the simplicity of these flowers, I wanted to add more detail to them. I had the opportunity to see some breathtakingly ornate and colorful flower marbles by the great John Kobuki, and his work inspired me to step up my game. I decided to try to figure out how to get a multitude of shades and hues on the petals. Achieving soft, fading colors in imploded or compression flowers took some persistence, and trial and error, but I found a method that works for me.
Currently I’m working on new designs that focus on visual texture through patterns. I achieve this by encasing my composition in clear to enhance the textural qualities. I look forward to exploring this look more extensively.
This tutorial provides some pointers on making layered filigree to achieve fading colors in flower petals
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Murrines are great when you want to duplicate a detailed design a number of times, which can be trickier with stringers and dots. The construction of a murrine cane is complex, but it opens a vast array of possibilities.
Making a feather murrine cane is not very challenging and is not the most exciting thing to do at the torch, either. Whenever I run out of feathers, I usually find myself dragging my feet into this 90-minute session. I try to make it more enjoyable with a good CD, my favorite radio station, or even an audio book, making sure that the doorbell is switched off.
I got into making these because I was trying to draw feathers with a contrasting color tip, but wasn’t able to do it by just twisting and raking the colors
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- Glassified Ads - April/May, 2013
- Vol.
26 No. 6.
- Workshop Calendar
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February/March, 2014 - Vol. 27, No. 5.
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In This Issue
Fumed Mandala Marble with Opal by Andrew Lazenby
We glass artists are in a time when there are wonderful artist who are producing what can only be described as profound works of art in all classes of glass. Not only are we standing on the shoulder of giants, we are surrounded by them ... It’s easy to be overwhelmed ...
With this in mind, I thought it would be in order to make a simple implosion marble with an opal floating above the design and highlighting a few key steps that often give new marble-makers trouble. I hope you enjoy this tutorial of what I call a Fumed Mandala Marble with a Spherical Opal. I made two versions of this marble to demonstrate the variation that can be achieved by fuming
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My most recent work is cabochon-based. I am enjoying the challenge of creating design on a flat surface and using my torch to manipulate and alter the design. The Harlequin Cab Technique and the Sundial Cabochon continue to push my creativity. It always amazes me how one idea can lead so easily into something else ...
This is a very simple cab design — a perfect introduction to making cabs: simple dots transformed into an effective feather design.
Mastering the heat is of paramount importance when making cabs, as the glass will always flow toward the heat, making it quite challenging to keep designs where you want them
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I developed this method of murrini encasement based on several other successful encasement techniques. I started pulling and encasing murrini in 2010 on large rod using a compression technique for marbles and paperweights, but had never needed to try doing it on a tube. Using my knowledge of the compression technique that I learned from John Kobuki, I came to realize that encasing murrini on a tube could be done in almost the same way as on a solid rod. This created a better transition from the murrini encasement to the walls than just attaching a tube to a solid disk. Not rocket science, but it takes a few tries to get all of the little tricks that I talk about here.
* For this tutorial, we did two demos to make sure we photographed all of the steps, so you will notice inconsistencies in the length of 32 mm tube on my blowtube. This dish was a custom order for a collector; hence the mushroom murrini in the center
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This tutorial shows how to blow beads with boro glass tubing. The beads can be decorated, but it is also a nice technique for clear blown-glass beads
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Aloha from Maui! It’s time again to play with more fun and reactive striking colors. In this installment, I found that a lot of the colors didn’t really show much reaction until at least five strikles in, so photos are through the fifth strikle where the previous issues have only shown through the second and third.
Here is the lineup for what we will be melting this time around.
Glass Alchemy
Amazon Night
Dragon’s Eye
Momka
Blue Flambé
Green Flambé
NorthStar
Dark Blue Amber Purple
Green Amber Purple
Trautman
Apricot
Yellow Elvis
In the introductory article, I talked about the temperatures and times that I run my different strikles (shop slang for striking cycles) and gave a quick how-to on mixing and watering down colors. If you have that issue handy, it’s a great reference to have open while playing with the new colors. Don’t forget to keep a notebook around to jot down what blends of glass, what type of strikles you use, and what type of flame atmosphere you are running. This will be your personal reference on how to repeat some of the amazing reactions you will discover along the way
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I have been a professional craft artist for more than 20 years. My career has encompassed various media, including leather, metal, semi-precious stones, stained glass, and lampworked glass. I have acquired many different skills along the way as I worked in each or multiple media.
I was a professional craft artist for 10 years before I became a glassblower. In many ways, my progression seems obvious: I simply refined my media to express my desired goal. In other ways, this progression and growth through many crafts has expanded my creative horizons in my work with borosilicate glass in particular and flameworking in general.
My experiences in selling in open air markets while traveling the country as a rising craft artist and a multi-media collaborator with then-partner Nathalie Fabri were some of the most profound moments in my life and have molded my creative self. The lessons I integrated while commissioned to cut, foil, and assemble custom stained-glass panels after those early craft years showed me how to be successful in the creative art and craft industry with artistic teamwork as well
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~~ Using Kinari “C Series” Glass (alkali-silicate glass) ~~
Kinari “C Series” glass is lead-free and safe for both environment and human health. The COE is 128 ± 3 like all other Kinari glass.
First things first. Clean the glass rods! Since Kinari’s “C Series” glass is so clear even a slight amount of dirt or scum will be easily noticed. Just wiping the rods with dry cloth will do
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In April of 2013, I moved my shop from a 8 x 10-foot metal shed to a large, fully functioning workshop attached to my new residence. Anyone in the South can tell you that working in a metal shed is no fun! About the same time as my move, several marble groups were forming on Facebook. I started making marbles my focus. I had made a few dozen marbles over the years but never consistently (with the exception of ones being attached to pipes). This was a whole new ball game!
These days, I spend a lot of time and energy trying to achieve different looks. My motives are to learn as many techniques as I can, and to be good at all of them. There is so much to learn that I cannot limit myself to a particular style. I believe I will grow old and still be learning new things daily.
In my experimenting with fume patterns, I came up with this one, which I like to call (an) inferno-cello. I’m sure it’s been done before, but I hadn’t seen it. This beautiful pattern often has an intense, flame-like interior, so I add flames to the backing as well making it an Atomic Fireball. The colors for the backing can be replaced with another opaque color and the colors for the flames can be varied, depending on what you have available. Major variations of the internal “Inferno” pattern can be achieved by imploding the lines and not twisting it, but the basic technique remains the same.
Let’s get our flames on!
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- Glassified Ads - February/March, 2013
- Vol.
26 No. 5.
- Workshop Calendar
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December/January, 2013/14 - Vol. 27, No. 4.
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In This Issue
Glass chose me to be a part of the most extreme form of art in 2000. This has been a lifestyle that I never expected. It’s amazing to me how much knowledge there is found in working with borosilicate glass.
I had done work with jewelry before I ever saw a glass torch. I enjoyed soldering jewelry together in school classes. With my first chance to make some glass jewelry, I was hooked. It was great to be able to wear my own art. I have had a lot of people ask, “Where did you buy that pendant?” It feels so good to say, “I made it!”
For anything you do—from solid marbles to hollow vessels—there is a step-by-step technique. Miss one step, and you can lose the entire piece. That’s what pushes me forward to keep trying until I get it right. It is OK to fail before you make it work. That’s that challenge of working boro. I have worked for days on making a sculpture, and the satisfaction that I get from boro makes every last minute that I spend worth it.
Boro gives me a challenge that transforms into satisfaction, with a great feeling of achievement. Working with a clear tube and a couple of different colors, with patience and time, creating a fillacello can be one of the nicest pendants I do
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These designs are made from brightly colored sand. I wondered if I could do the same thing with glass frit. I soon began developing a technique of layering glass frit and knocking away other layers with metal tools, creating the patterns that I desired. It took me five full years of trial and error to achieve this.
The thing you have to worry about concerning this technique is the hotness of the glass. Too hot—the frit will stick and not budge. Too cold—the frit all falls away. Monitor the glow of your glass and you will eventually figure it out.
These days, I am interested in studying patterns that have symbolic meaning in both modern and ancient cultures, and I plan on incorporating those into my work
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The Grimmetts began the class with an explanation of the Glass Alchemy color chart, showing how the colors are identified using three- or four-digit numbers. The first number corresponds to the color of the rainbow, in ROY G BIV order. The reds are in the 100s, oranges in the 200s, etc., up to the indigo and violet tones in the 600s and 700s. The 800 series is for neutral earthy tones and the 900 series is for black-and-white. Knowing this information helps the artist immediately understand what to expect from a color before even seeing it
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Aloha again from the Valley Isle. Welcome back for another installment of striking borosilicate color reviews. This article covers:
Glass Alchemy
Double Passion
Solara
Momka
Yellow Pearl
Light Purple Haze
NorthStar
Mystery Aventurine
Light Blue Amber Purple
Trautman Art Glass
Purple Sable
Double Mai Tai
In the August/September issue, I talked about the temperatures and times that I run my different strikles (shop slang for striking cycles) and gave a quick how-to on mixing and watering down colors. If you have a copy handy, it will act as a great reference as we explore these colors together.
For all of my reviews, I use each color in several different ways, primarily focusing on the internal reactions, but touching on surface applications as well. Jellyfish will be the standard internal design used and hearts will be the external. I have also used works by other artists in my studio (Sean Price, Daniel Lindquist, and Nathan Belmont) as finished pieces that show off the range of the these colors
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In this tutorial, he demonstrates how to make an Iris Cane and use it to make an eyeball to attach to a piece of glass art. Everything used for this project is borosilicate glass.
Choose two different colors—striking ones work best, but you have to find out which ones work well together. Blue Caramel and Purple Luster, both Glass Alchemy colors, look really pretty together. Also nice is Cobalt Blue with Lokis Lipstick (Northstar colors). Just try out some different combinations. This demo uses Ice Blue and Lokis Lipstick (Northstar). Start to stripe one stick on another
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Like all artists ... I crave attention for my art. As I was torching it up one night, my friend Dave suggested I make a marble, give it away on my Facebook page, and advertise it on marble pages. It didn’t take long for someone to win it, but the response was almost overwhelming, with about 30 friend requests throughout the day. The next night, I figured I would do it again. I did, and I experienced pretty much the same results but with more friend requests. It was about two weeks before Christmas, so I thought I would make one a night and give it away every day until Christmas. Not only would this attract attention to my marbles and make people happy with free MIBs, but it also was a way to get my marbles out there to show people instead of them sitting on my shelf or in a box. By Christmas time, I had made over a dozen Monsterz and had close to 1,000 friends on Facebook
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This tutorial for one of my more popular memorial beads is for those interested in exploring this meaningful expression through art.
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- Glassified Ads - December/January, 2013/13
- Vol.
26, No. 4.
- Workshop Calendar
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October/November, 2013 - Vol. 27, No. 3.
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In This Issue
The Birth of a Photon Breach by Daryll Marotte
I have been making marbles for about a year of my journey into the glass world now, and I have what seem to be quite a few fans of my work. I guess it goes like this: some people can hold and look into sphere where an artist has trapped their heart, soul, and any thoughts racing through their mind at the moment, and they feel something satisfying, followed by a craving to own that sphere and have that particular feeling on tap at any time. These people are marble collectors, and I love to satisfy them and myself at the same time by making marbles!
I hope to collaborate with some of the world’s marble masters and be considered one myself, but for now I need to further refine my own style and try to keep my techniques as fresh and unique as I can...
Kim Fields has a BA in Communication from Michigan State University. She had an award-winning career in television but needed another way to express her lifelong passion for the arts. She took a beginner’s lampworking class in 1999, was introduced to Cindy Jenkins’s Making Glass Beads, and taught herself the fundamentals of glass beadmaking. She left the corporate world and has dedicated herself to the art of glass beadmaking and jewelry design full-time since 2000. Fields now teaches beadmaking around the country and internationally. Her work can be seen at shows, galleries, and exhibits, as well as in numerous publications.
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Being a wildlife rehabilitator and educator obviously affects my choices of subject matter when I am working with glass. Those interests led me to creating this basic owl face pendant/bead. Variations on this basic face can be made for more species-specific coloration or completely made-up color versions and looks with different canes and by varying the sculpted details. Have fun!
Hello again from the middle of the Pacific. In this and upcoming issues, we will explore together many of the colors available on the market today. All four companies—Glass Alchemy, Momka, NorthStar, and Trautman Art Glass—have been kind enough to donate quite a few of their colors to be reviewed. This issue will discuss the following:
Glass Alchemy
Tequila Sunrise
Persimmon Strike
Momka
Magic Mirror
Exotic Citrus Grapefruit
NorthStar
Amber Purple
Double Amber Purple
Trautman Art Glass
Queen Bee (Caramelo light)
Caramelo
In the last issue, I talked about the temperatures and times that I use to run my different strikles (shop slang for striking cycles), and gave a quick how-to on mixing and watering down colors. In this and upcoming issues, I am going to use each color we are exploring in several different ways, focusing primarily on the internal reactions, but touching on surface applications as well. I have chosen jellyfish to show the different reactions internally and hearts to show what the external reactions are
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With this being the Halloween issue and me working out of Historic Lahaina, where Halloween has been called the Mardi Gras of the Pacific, I thought I would present a piece that’s a bit of fun, not too intimidating for trying at home, yet still offering good practice for honing a range of detail work techniques. I chose to use glow glass on this piece, but feel free to make with whatever color scheme you want or have handy...
I have been working with glass for 10 years now, and one of the greatest things that I find is that there is always something new to learn. I feel the options that glass gives you are limitless. Being able to blow, slump, cut, mold, sculpt, electroplate, sandblast, facet, paint, and apply the scientific abilities of with glass not only challenges us working in the field but also leaves us wondering what else we can possibly do.
For this piece, start with a 38 mm heavy wall tubing, Butterscotch, and Green Amber Purple powder, a short rod of Subliminal, some 7 mm rod, and a 12 mm blow tube. Use a butter knife and tungsten pick for detail and...
There are hundreds of dog breeds out there, of all different shapes, sizes, colors, and ages; finer details change with each. This Labrador puppy bead is one of the easier dog beads to make and will give you the basic foundation to create these miniatures. This is the starting block. Every dog bead I make starts out the same way.
For this bead, I’m using soft glass COE 104 because the glass moves more easily than other COE glass formulas. This is a pretty time intense bead to make, but the end result is worth it when you can pick it up and it feels like it’s looking right back at you.
Please note that this bead is not easy for the beginner. It can take anywhere from 2 to 3 1/2 hours to make. Patience is needed.
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The techniques used in this demonstration can be easily adjusted as far as fume combinations and color choices, to allow for a wide variety of finished effects. This will help you to create your own implosion pendants, too.
- Glassified Ads - October/November, 2013
- Vol.
27, No. 3.
- Workshop Calendar
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August/September, 2013 - Vol. 27, No. 2.
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In This Issue
Visage by John Ryszka II
There are three different ways in which I manufacture faces and this article shows my favorite. This style of production focuses primarily on layering the glass back and forth upon itself to create the different curved surfaces of the face itself. By placing each consecutive layer on either the front or back edge of the previous layer, a concave or convex surface can be created
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As you get more and more into watering down and mixing your own colors, it is a good idea to start a journal of color recipes so you can recreate your more desirable results. Things to jot down will be ratios of colors and clear in the mix, flame atmosphere, number of “strikles,” what temperature and duration you struck at, good overlays, and color combinations that work well for your own blended colors. With all the different colors we have now and new ones being constantly released, using this technique makes the possibilities infinite
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Coming up
In upcoming issues, I will review a lot of the striking colors from each of the four big companies in depth, to help you chose the right colors for your projects and know how to get what you want out of them. Keep this issue handy as a reference as we explore what the boro color world has to offer together.
Advanced torch paradigm’s Part II:
A Detailed Introduction, Explanation, and Usage
Guide for Herbert Arnold Zenit Model Burners
by Jason Howard
In this article, I will take that information for granted, and simply explain Zenits in more detail: how and why they work the way they do, and why you might want to use one. I will assume you generally understand how pressure affects flame chemistry and velocity, and how that affects glass.
No matter what torch you are using, this information can be a “game changer” if you’re ready for it. Adjustable pressures and compressed air will be especially effective in improving the operation of both GTT and Herbert Arnold torches
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The Evolution from Hollow to Solid by Marni Schnapper
My idea of fun is making marbles on a cold winter day, 20 feet from my kitchen. Working at home with Rick Carter, aka Cajun Rick, has become my comfort zone for awhile now. Like my glass when it is worked, I have transformed my life from hollow to solid
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It must have been at least a year ago, if not more, that I first found out about "Lifeform: The Rudolph and Leopold Blaschka Glass Biological Model Exhibition" www.glasslifeform.org. I had no idea who the Blaschkas were, or what an important contribution they had made to lampworking as a craft. A little Internet research left me blown away; I couldn’t conceive of a way to make anything approaching these amazing models, in soft glass, at a torch, so I shelved the idea of entering the exhibition, and I pursued other avenues in my work.
I have long been a great admirer of those flameworkers who can closely imitate nature; the encased work of Chris Buzzini, Cathy and Colin Richardson, and Paul Stankard, and the sculptural work of Vittorio Costantini and Wesley Fleming (to name just a few), amply demonstrates what is possible in glass, with much skill and perseverance. When, in January, my wife reminded me about the exhibition, I decided I would make a concerted effort to produce something worthy of it
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Starting this year, I have been working on improving my fume techniques and jellyfish pendants/marbles, trying to make them bigger, better, straighter, and way more colorful. I feel that the jellyfish are getting my name out there, considering that I’ve sold jellyfish to collectors and artist all over the world. I’m still on my quest to find my signature piece, but in the meantime, here’s how the jellyfish work
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In January, I had a reining sorority queen ask me if I would create a custom necklace that for her to give to the incoming sorority queen. She wanted the necklace to be entirely of yellow roses. That request ultimately was the conception that led to the creation of my rose bead.
I am now passing on the steps I used to create this bead in the form of a small tutorial. For this tutorial, I did three of the beads in 104 COE and three in boro. The techniques used are basically the same for both types of glass, although the soft glass requires that I work faster and have to concentrate more about keeping my glass hot. Boro allowed me a little more time for snapping photos as I worked. Holding tweezers in one hand and a glass rod in the other while trying to image out how to take a picture for the tutorial was a little bit comical and I can openly laugh at myself and thank my lucky stars that no one could see the antics!
To start, I selected various shades of red and green, and a few rods of yellow and clear. The clear rods are used as my puntys, the yellows are for stamens in the roses, the reds for individual petals, and the greens to create leaves
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The 2013 International Flame-working Conference (IFC) at Salem Community College (SCC) in New Jersey, held March 22–24, attracted approximately 300 glass artists and glass art enthusiasts from 18 states and Canada.
This year’s featured artist was Vittorio Costantini of Venice, Italy, who has spent a lifetime perfecting multi-colored insects, iridescent butterflies, birds, and sea life in glass, making them look as if they’ve just been plucked from nature
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- Glassified Ads - August/September, 2013
- Vol. 27, No. 2.
- Workshop Calendar
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June/July, 2013 - Vol. 27, No. 1.
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In This Issue
Implosion Marble by Jake Parsons
One of my goals for the future is to take up more opportunities for workshops and classes from other artists. In March of 2013, I took a Jeremy Grant-Levine workshop at Revere Glass School that was very beneficial—I picked up many new techniques for working with fume.
My current work focuses on opal encasements, silver and gold fume implosions, and symmetry, as with this step-by-step tutorial on a silver-and-gold–dot implosion marble
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Little did I know when I first visited my mom at Penland School of Crafts, at the age of 13 in 1992, that I would be exposed to the craft of glassblowing and lampworking. This experience would be the beginning of a lifelong love affair with glass. Now, at the ripe old age of 34, I can reflect on my journey with glass as my constant partner over the last 20 years.
My mom was an art teacher, potter, and metalsmith so, from my early days in preschool, I was always around art and art classes. Although I never thought of being in the arts myself, that world was always around me
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I started out with drawing and painting in high school. This morphed, over time, into beading and basic jewelry-making. I have tinkered with candle-making, scrapbooking, ceramics, and polymer clay over the years, but I finally found my passion after taking a silversmithing class, and then a lampworking class. What I discovered about myself is that I am a pyromaniac! My name is Jennifer and I melt things!
With glass, you have to work fast, and you have to use the characteristics of the glass (think taffy-pulling) to sculpt the glass into the shape you want it. I love the transparency and play of light, and the reactions to the flame and other colors … and working over an open flame at about 1,500 degrees Fahrenheit … I also love creating the metal settings that showcase my lampwork beads to create truly unique pieces of wearable art, and the variety of the work I can do—some days I am in the mood for metal and some days for glass
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We will profile Teppei Okabe’s particular method and style as he creates a bead titled “Core” that is filled with various creative ideas
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I became interested in glass in 2005 when, after watching a demo at a bead show, I mistakenly thought that I would be able to make beads for my wife’s jewelry creations for less than she would be able to buy them. I was bitten by the glass bug even though that idea turned out to be exceedingly wrong. My focus when I began lampworking was on soft glass, due to limitations in space and knowledge of the medium.
It has only been in the last year that I have made the transition to borosilicate glass. While there has certainly been a learning curve, I am finding more and more pleasure in the myriad colors, visual textures, and forms possible.
Seeking to find my voice in glass has been a process that has relied not only on admiring the work of others and being amazed at how far the medium can be pushed, but on the natural world around me.
I conceived of the marble featured in this tutorial when I saw a large conglomerate rock wall and thought it might look cool in glass. As I began to explore the idea, it morphed into the walls of a well with a swirl headed to the bottom. I hope that you are able to capture the same effect and build on it as I have worked to build on the ideas of others
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With spring and summertime come hummingbirds—and they love to visit and feast from glass feeders!
“Luster Blasting”
a Flower of Life Vessel by Dan Pratt
The term “Luster Blasting” is something I started using to describe the technique of blasting off the reduced “haze” or “bleached out” surface layer of a highly saturated (usually silver) color. Many colors will work for this technique; some will contrast more than others. Northstar’s Blue Caramel is a popular choice for this technique because of its high contrast, and that’s why I chose it for this tutorial. You can also experiment with striping two different luster colors together that have a similar haze for a two-tone effect on the under-layer when sandblasted.
Sandblasting has changed the way I work glass forever. I hope this tutorial will help you, even though it’s only blasting the surface
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- Glassified Ads - June/July, 2013
- Vol. 27, No. 1.
- Workshop Calendar
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April/May, 2013 - Vol. 26, No. 6.
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