Adding depth to fused glass 2

Early spring saw me thinking more sculpturally and starting to obtain slight relief by fusing over fibre blanket forms. As the relief is on the back of the work it only works with transparent glass and preferably back lighting. The technique is sometines refered to as bass relief, although strictly speaking the form should then be on the front face of the artwork.

First experiments were with slumping bottles, including giving some form to an otherwise flat plate that was difficult to pick up from a table.

Once happy that the technique worked I tried fusing glass over simple shapes.

Just before leaving to get the boat ready for the summer season I tried a much more complicated design. Again, the work was fused directly onto the pattern pieces but with so many small elements some moved with the glass as it formed. The overall patern is recognisable as a celtic knot but I was not happy with the detail. I could have fused first, then slumped the glass over the pattern, but would not have been able to relate coloured elements directly to the design.

This piece uses coarse adventurine frit, streaky green transparent and clear glass.

My final piece of the winter season was a bit of fun. As with all my suncatchers the suspension point for the single wire is cast in the glass. With this piece its location was something of a guess, as I could not find the balance point until it was fused. Fortunately my guess proved to be right!

Adding depth to fused glass 1

After my first few firings with the kiln I wanted to add depth to my work.

The easiest way was to fuse clear glass onto the work. This gives a lighter colour when overlaid on transparent glass as in this suncatcher.

Setting up the glass

Fired suncatcher showing lighter shades under the clear glass

There is no change in the underlying colour on opaque glass, but depth of the piece is apparent with shadows and refraction at the edges of the clear glass inlay.

First glass firing

Once the kiln was installed I purchased a range of glass in different colours, both transparent and clear.

The first firing was an experiment - I was not sure what would happen.

To get some idea I set up a long clear strip with a square of each of the transparent colours. The second large piece was a grid of transparent strips. As the middle blue was wide I added clear strips between the three outer coloured strips to keep an even glass mass, so that the finished surface would be reasonably level. This left voids either side of the centre blue strip.

The remaining space in the kiln was filled with little clumps of offcuts, some fusing glass and the others from my stained glass work - each clump of the latter having been cut from the same piece of glass to ensure that it was compatible.

Opening the kiln after firing is the best part of the process - seeing the newly formed glass.

 

The long test piece has made a nice 'suncatcher' as I had  moulded a tube through the top to take a suspension wire.

               

Fused glass produces a suncatcher with a very different quality that looks more natural and organic than the more usual 'stained glass' pieces. I enjoy the technical process of making 3D stained glass work, but for flat work think that fused glass looks far better.

 The grid of strips fused together, giving a woven effect. Some colours dominate the overlying glass and others merge. Being transparent the piece only looked good on a plain light coloured surface. After a while I decided to tack fuse it onto an opaque white base so that it would look better and could be used as a plate stand.

The small clumps were mainly successful, and could be used as jewelery, although some of the streaky glass was dull after firing. I assume the dulness is a product of the type of glass, as it is finished and not intended for further fusing.

Trials and Tribulations

My first attempt at an enclosed form. The idea is to mix different blue glasses with clear bevels to throw coloured highlights when used as a suncatcher.

First step was to build two pyramids. These were then cleaned ready for finishing. They were then joined together. My fear was that the solder would melt through the join and fall inside the piece.

Sure enough, after carefully tacking and then closing the joint all the way around, I ran a full bead to finish the seam. Only one side then flowed through the joint and created a blob across the opposite edge. My first reaction, working on the principle that solder flows towards the heat was to melt the joint solder over the blob, holding this edge downwards so that the solder could fall out. This worked and cleared the blob that was over the foil. However some had solidified on the glass surface and this did not move.

Only one thing to do - melt all the solder around the joint to separate the two pyramids. It took a while, and damaged much of the copper foil. The positive result was that I devised a technique that should  avoid the solder flow problem. Sure enough, after replacing the copper I was able to join the two pyramids and obtain a reasonable bead of solder.

The sculpture was then spoiled by overenthusiastic washing that caused a few drops of water to smear two of the inside faces. I was not opening the piece again. It has been finished and will be kept in the studio as a reminder of the lessons learned.

A simple star

After the complications of constructing the last suspended sculpture I decided to do something nice and simple.

A traditional star using bevels. Just foil the pieces and pin them down on the board for soldering . . .

Rather than apply a patina the solder has been left silver, polished with finishing compound to delay tarnishing. Occasional applications of wax polish will keep the shine.

Even in a simple two dimensional piece beveled glass can provide pleasing shapes and throw an array of highlights, making a delightful suncatcher.

A collection of suspended sculptures throwing highlights into the room.

Suspended Sculptures 1

I find that working on one project usually triggers ideas for more designs. To this end I keep a sketch book devoted to ideas for glass projects. Often, what is eventually made is in itself an evolution of the idea in the sketch book.

My final project on the course was a three dimensional star constructed from square bevels.

While working on it I could see a number of possible developments, primarily by using coloured glass and by changing the shape of the component pieces.

My next step was a combination of the two, using coloured glass in 'kite' shapes that kept the 90° angle for the core of the sculpture.

This resulted in a more obvious star shape, but with the same basic structure. I used wispy amber glass for the vertical arms and a transparent amber with surface texture for the other arms. I also treated the solder with copper patina to get away from the bright silver lines that distract from the colour and texture of the glass (but would all to soon become a dull grey).

 For me the pleasure of glass is seeing it changing the light that shines through it.

The projected sunlight in this image enhances the texture of the glass surface.

A week or two later I decided to extend the basic design using coloured glass squares and bevels. A simple jig was set up to cut a selection of coloured two inch squares (which incidentally inspired another cubic design).

While quite simple in concept this piece proved something of a challenge to construct. I really need a bench vise with a swivel head to hold the pieces for soldering. As it was I made do with the two salvaged computer hard drives, blocks of wood, card and push pins. These enabled me to position the work to keep the joint being soldered horizontal.

The two bevels throw highlights, enhancing the projected colours.

The solder has been treated with a more complicated patina, using copper and black, to give an antiqued finish. While holding the piece and polishing I was reminded of my sextant, with its selection of square coloured filters that could be pivoted over the telescope lens and horizon glass to protect the eyes from the full strength of the sun.