Kent State University′s Glass Program is one of the oldest in the country, with a rich history and bright future. Started in the early 1970’s by Henry Halem, one of the patriarchs of the Studio Glass Movement, Kent’s Glass Program has continued to produce strong artists with a sense of history as well as contemporary glass practice.
Our Studio Motto is “Learn, Work, Safety”, because we think Safety is a verb. It takes knowledge and practice to engrain smart, safe studio habits, and informed safety should be a component of everyones studio practice.
This website is a repository for the Glass Studio′s operational and safety procedures as well as—hopefully soon—a series of equipment demos and maintenance protocol. Please bookmark this page so you can easily access General Procedures, Safety Protocols and Demos wherever you are!
Let′s keep us all safe and productive.
Suggestions or comments for more content? Leave a message below or see contact info in signature.
Davin K. Ebanks
Assistant Professor, (Head) Glass
Kent State University
Basic mould making technique for silicone moulds using basic Silicone I* caulking (available at your local hardware store). Tips:
- Cool, Soapy Water
- 2 Buckets (1 for hands, 1 for silicone).
- BE GENTLE! (If ANY of the silicone starts to stick to your hands, STOP and clean off. silicone sticks to silicone, so it will continue to build up and eventually make a giant mess!)
- Collect and Shape the Silicone noodles UNDER WATER.
- Be sure your hands and pattern remain cool, wet and soapy.
*Note: Do NOT use Silicone II. It will not cure!
Colorline Enamels also makes a glass paste for screen printing. Check out their tips/tricks for printing, firing, fusing and slumping.
Dale Chihuly recounts how he discovered/developed his first breakthrough series, the Baskets. Inspired by Native American woven baskets, Dale set out to create the same feeling of organic movement—of weight, of gravity—in glass. His first really strong idea was to let the fire of the furnace deform the glass, but for this to work the material had to be pushed to the edge of thinness, to be right on the verge of collapsing under it’s own weight. He would then freeze that moment.
Much has been written, both negative and positive, about Chihuly’s work over the years. Young glassblowers in particular seem to have a disdain for his work, dismissing it because “he didn’t make it” or “it’s too decorative”. Ok, well, I issue a challenge to all you glassblowers out there: if you think Chihuly’s work is so easy, recreate his first series. It’s not as easy as it looks.
Want to make a uniform gradient of color across a large flat surface (a fade)?
Want to make colored patterns on glass that can be displayed as a panel or rolled up in the Hot-Shop?
Check out Bullseye’s notes on working with powder on flat glass. I know it’s a bit dry, but trust me, there’s some really good stuff here!
*NOTE: Always wear a NIOSH approved P100 or N95 respirator filter when working with glass powders!
Many kilnforming methods are based on fusing, the heat bonding of separate pieces of glass. In this lesson you will learn how to fuse together layers of glass on a kiln shelf, while exploring glass as a unique art-making material.
This video covers the basics of fusing, including:
- Full Fuse
- Tack Fuse
- Pattern Up vs. Pattern Down
- 6mm Rule
- + More
Highly recommended before attempting a fusing project!
Below is a summary of info on Adhesives for Glass provided by KSU alumnus and cold-worker extraordinaire, Timothy Stover on his recent visiting artist stint at Kent State Glass.
Uses: Glass to glass, metal, wood (wood must be dried and completely sealed).
- Can be colored with dry pigments.
- Shelf-life of four years (begins to yellow in bottle)
- Optically clear
- After mixing, can be stored for 7 days in freezer to be used.
- Cures 7 days, or 2 days under warm lamp at approximately 120 degrees
- Very expensive (but worth the money)
- Only 4 distributors in USA
- Must be weighed out precisely for proper curing (two parts)
Continue reading “Adhesives for Glass”