“When you go to make something like this, that has a lot of little pointed edges. those are more easily achieved after it’s, after the clay is dry and I’ve got one here, that’s got some little ragged edges on it. And so I’m just going to start cleaning that up. And I’m just pressing down on a cutting mat with my knife.”
“With larger pieces of glass, sometimes it is easier to isolate the thing you want to cut out, before you start cutting the details, because if you have an errant run, like for example, if I were trying to run this little square right here around the edge of the head and it went wrong, it could actually take out that whole side of the glass too. So this way, if I do go right down that centerpiece, I minimize the possibility of ruining the whole piece of glass. And this is true of art glass as well. Just gives you a greater ability to maneuver around it.”
“This is your first date with your painting? Basically I considered, if you think of the painting and you as a marriage between artist and, product, if you skip the first date, which is the drawing and the second date, which is the value study and go straight to the painting, chances are you’re, we’re going to get into a marriage where you get kind of lost and you have to figure things out when that water split much harder to do. You can make a whole bunch of decisions and understand your subject much better if you actually draw instead of trace. So there’s me off my bully pulpit plus. Okay. You just have more legitimacy as artists. If you see the drawing stage, you’re going to, be able to translate that to the brush just as well as you can to the pencil. So don’t skip this state. That’s my advice. Draw every day, get good at it and observe. This is, the first date of any piece of art.”
“And I’ve often said basket making is like any other craft or art that you do when you do something in repetition, knitting, crocheting painting. And I once had a student who came fairly regularly and she came one evening after work. And she said, you know, I almost didn’t come. I have a splitting headache. And I said, well, you can reschedule if you’d like, Oh no, I’ll go ahead and try it. About 20 minutes into the class, I went and I asked her how her headache was and she said, what headache? So there’s the answer to the headaches craft glasses.”
“So here’s the tip of the chin. Now, one of the things I need to see is the angle that it goes back. And I want to see what is the relationship between the tip of the nose and the chin. What is that implied line there? So the tip of the nose to the edge of the chin is almost vertical. I’m going to draw that angle so I can find this mapping point and his head is slightly tipped back. That’s why it’s looking like he’s jutting out his chin. Then we called this the Lennon pose when we took the picture. So his chin is jetting out.”
“So what I’m doing here is just putting acid etching cream on the high parts of the pattern. Now don’t worry too much if you color outside the lines with this, because when we fire it again, the parts that are acid etched, that don’t have mica, we’ll just fire polish. So they will not even be visible. So don’t really, don’t get so wrapped up in the perfection of this, that you paralyze yourself with inactivity. So, there’s the shell and we’re going to do the lighthouse and the turtle very quickly.”
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“If you do a lot of bottles and you do have one of the little contraptions that, does the score for you, you might want to consider a tiny propane torch, So we’re going to put that candle flame on or close to this score, and I can, I can kind of see it through the bottle. So I know where that is. And if you listen very carefully, you can hear this little tink. So basically now you’re heating up where you scored.”
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“So you’ve got your length. So what you do is you find the good side of your read. Of course, you need to take it under, you can start anywhere. You take it under so that this is sticking out on the outside of the basket. Then my piece of round red, I’ve put the ants together and I’ve put it together like a hair, a pen, you know how a hairpin has that, that looped look that I’m going to hook it over this. This is the hardest part of this technique is getting it started. So I hooked it over there. I’m not going to push this down just yet, so you can really see the technique. So we’re going to have X’s on the outside of every other one. So I’m just going to take this. It doesn’t matter which one you take first, as long as you’re consistent with it. So this I take down this one up, so I make this X.”
“So the first thing I’m going to do on my nice smooth piece of clay is I’m going to just put this off to the side here and now I’m going to trace around that actual actually that’s remind me that that’s upside down to you. So turn it around here. If I put it right in the middle of the clay, then I, then I’ve, you know, have to roll it out again. And I want to keep all that because I have all these other leaves and stems I’m going to put on there. So I’m just going to take a ballpoint pen and go over my bird with a ballpoint pen. In terms of pressure. It’s the same pressure as if you were riding on it. You’re writing on a paper, but you also, you know, you can poke through it. So, and I probably will do that a couple of times. “
For plaster of paris, we use two parts plaster to one part water. We’ll just do it that way. Let’s just regular plastic. Regular plaster paris. You can get at a home Depo or a hardware store or a craft store. Two parts class, or one day. Part water, two parts plaster, one part water. By volume. Get it in the mold before it sets up too much.
“What we’re going to do is take one of the leaves and just place it on the clay. Actually, you know what, I’m going to place all of them right now. And I’m going to apply some pressure to the paper. No idea why, but lately my lifts have become kind of crunchy. I’m afraid that when I tried to take them off the clay, they might break now. I really hope it will happen. But, I know it might, so I’m going to apply, some pressure on the entire leaf and then I will just take them off the clay.”
We’re playing leap frog. So you have two friends and yourself, and you’re playing leapfrog where you jump over the people in front of you. Typically, you can only play with two people where you leap over, but we’re going to pretend like you’ve got really long legs. So I’m going to leap over these two and under this one. Okay. Now I like to teach with different explanations, different analogies, so that if you didn’t understand that you can understand a different way. So we’re going to play the train game. So we have a train here and this one is the engine. This middle one is the dining car, and this one is the caboose. So poor caboose always wants to be the big engine because the engine gets the most attention. So he’s going to jump over the dining car and that one in there he is. He’s now the engine.
To get started here, we’re going to just make a simple flour. And when you roll the clay out, it’s really important to always lift it first, before you start doing anything, because it’s so sticky that it’s going to want to stick to this plastic piece. And if you start cutting things out and you haven’t lifted the clay, they’re going to be stuck. So you want to always pull the clay away from the plastic. I’m just going to use a little, a little box top here to cut a circle, and I’m going to make a little flower shape out of this circle, going to actually do two. I’m going to take the top of, of a glue stick, which just happens to be about the right size for a smaller circle. It’s going to go inside. So there we have these two little pieces.
I used two firing schedules. I used a slump schedule. And a slump schedule is hot enough to take a bottle from this to this. So that is, it’s hard enough to bend the glass based on gravity and heat. It’s going to get a little, a little squishy and gravity is going to pull it flat, But not hot enough to go all the way flat. So let me show you, this is a fuse schedule and this is the other one I use frequently. Okay. So that same bottle, that’s the difference between a slump and a fuse. And interestingly enough, that is only 150 degrees difference. So a lot of stuff is happening in that 150 degrees.