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Modeling Glass Tips and Tricks
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Every month I'll be writing about how to use Modeling Glass in your work, and hopefully answering some questions that will help you get the results you want. There's always a learning curve with a new product, and there are considerations working with frit and powder that you don't have when firing sheet glass.
There is a full set of FAQs on the Modeling Glass website at
www.modelingglass.com
.
WORKING WITH WHITE
Anyone who has worked with frit knows that getting a strong white can be a challenge. White frit and powder tends to burn out during firing. Working with white Modeling Glass can also have its challenges, for several reasons. The question I receive the most is this: why is my white grey at tack fuse temperatures? How do I get a really white white?
The grey cast is caused by trapped air within the body of the piece. When glass powder melts together (sinters), air remains between the particles unless it is fully-fused. This prevents transparent colors from being completely clear, and can affect whiteness, unless the piece is fired hot enough to sinter the particles well and drive out most of the air.
I have found that the strongest white is achieved using Bullseye Opaque White 0013-0008. A much longer hold and a slightly higher temp matures the white much better. The photo above has 3 petals: the one on the left was fired using the usual tack-fuse schedule, up to 1275 for 10 minutes. It's decidedly gray. The middle one was fired only once, peak temp 1325 and held for one hour. The petal on the right was fired once to 1275/ 10 min. hold, once to 1275/ 1 hour hold, then once to 1325/ 1 hour hold. You can see the petal on the right is much brighter than the one on the far left, but only slightly brighter than the middle one that was fired once. The slightly higher temp of 1325 with a 1 hour hold is the right approach. If you are after the super-white look, then try making the hold even longer. Loss of detail in the texture was minimal even at 1325.
Some other colors benefit from additional heat work, especially yellow. Because yellow glass is a striker, it can have a greenish cast at tack-fuse temps. It's best to plan to fire to 1325 minimum for a project with yellow.
Check out next month's eNews for more tips on working with Modeling Glass, and please send me an email at
info@modelingglass.com
if you have a specific question about a project. Photos help me understand your question!
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All the Fun Things
This winter has been an absolute whirlwind of activity. I have to pinch myself periodically to confirm that yes, this is all happening, and no, I'm not dreaming it. Two things stand out in particular: first was an incredibly fun and interesting project at
AAE Glass in beautiful Cape Coral, Florida. Tanya Veit invited me to film two instructional videos built around working with Modeling Glass. I share techniques I haven't offered before, and go into deep detail about getting the most from this new product. The videos are now in the editing phase, and will be released later this year through AAE's online education program. I spent four days working with Tim the videographer, recording all the steps of two different projects.
What I found surprising was that the real work of doing one of these videos wasn't so much on-camera but in the advance preparation. Since there isn't time to actually fire the projects, I had to pre-make each step and have an already-fired example of what I was talking about on camera. It took a lot of time to make all the components for the various stages. Even with all that prep, on the last day Tim and I ended up waiting for a kiln to cool so we could get the very last shot of the finished piece. And you know how SLOWLY a kiln cools when you are waiting for it!
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The second fantastic project was a collaboration with Canadian glass artist
Bob Leatherbarrow
. Together we wrote an article for
Glass Art Magazine, discussing Modeling Glass, what it does, and how to work with it. Bob took one of my workshops at
Helios Glass in Austin, Texas last year, and he was pretty jazzed about the potential for working with frit and powders in a new way. The four-page article came out in the March/April issue, and I was blown away by how beautifully the publisher laid out the article. In my past life I was a magazine and book designer for 30 years, so I have pretty high standards.
Then there's the fact that I'm traveling all over the place, teaching workshops in 3 different countries. I worked it out that I'm traveling about one week every month in 2019. I intend to sign up for Preferred Traveler status so I don't have to keep taking my shoes off in airports, which is one of my pet peeves.
None of this would be happening if it weren't for the enthusiastic response from fused glass artists who have tried Modeling Glass and liked it. I am in a constant fog of appreciation to the retailers who are carrying it, and it means so much to me every time I see an artist who has incorporated Modeling Glass into their own work in some unique way. So here's a big virtual hug to all of you out there!
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Want to purchase Modeling Glass? A list of retailers is available on the website. The list keeps growing, so check back. And ask your local glass retailer to add Modeling Glass to their stock if they don't have it!
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Feathers and More with Lois Manno: March 22-24
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Join me for a fun three-day workshop at beautiful Glass eMotions Studio in Ottawa, Canada. You'll learn how to mix and work with the exciting new product, Modeling Glass. Projects include making your own feather using Modeling Glass, but that's just the beginning! You'll also be creating trees, learning techniques like sgraffito drawing, making bas-relief sculpted glass tiles, and more!
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Modeling Glass: A New Way to Create, April 19-21
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Join me at
Milkweed Arts in Phoenix for three days of playing with Modeling Glass! You will learn how to make a realistic feather using pure powdered glass, but the activities go way beyond that.
Students will learn many interesting ways of working with Modeling Glass, combining it with enamels in a sgraffito technique, and sculpting with it in combination with fine frit.
A workshop at Milkweed Arts is so enjoyable. Warren Norgaard has created a really special place for glass artists. The vibe is great, and his new gallery/workshop is top notch.
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Additional Workshop Opportunities
Lois has a full schedule of workshops across the country as well as Canada and the UK. See the schedule
here
.
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Modeling Glass
This new product was developed by Lois Manno of Glass Bird Studios. It is a two-part system made of a powdered binder and liquid medium that, mixed with frit or powders along with a little water, turns the powder into a material that can be sculpted like clay. It is featured in the workshops she teaches.
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I'm excited to announce that I will be at the Las Vegas Glass Craft & Bead Expo in April this year! I'll be at the
D&L Art Glass booth doing demonstrations with Modeling Glass, answering questions, and enjoying a full immersion in the world of glass art. If you will be at the show, please stop by and say hello...I welcome the opportunity to actually speak "in person" with the many glassy friends I have been lucky to make on social media.
Learn more about the Expo here.
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