Americana Issue - Glass Patterns Quarterly
Summer 2014
Volume 30 • No. 2
Stained Glass
Star Quilt Panel
Vintage Plates
UV Resin Pendants
Fused Glass
Les Paul Guitar
Skyline Silhouette
Patriotic Server
Country Store
Play Ball!
Volume 30
No. 2
$6.00 U.S. $7.50 Canada
DON’T MISS Our 16 - Page Pattern Sheet
The best of both worlds
Lisa Vogt holds one of her
kiln formed vessel sinks.
To find your local distributor or
for more information,
­visit us at,
email [email protected],
or call 503-774-6000
Nationally recognized glass artist and instructor,
Lisa Vogt demands a lot of herself, her art, and her
kiln. “Precise control is critical to the success of my
artwork. The Ramp and Hold Mode on the Skutt
GlassMaster controller allows me to customize my
own programs and gives me the freedom to push
the technical boundaries of my art.”
“As an instructor, I also appreciate the
convenience and ease of the pre-programmed firing
schedules in‑the GlassFire Mode. My students can
success­­fully fuse and slump most beginning projects
themselves. And, when they are ready to push their
own boundaries, the Ramp and Hold Mode is there
for them. It truly offers the best of both worlds!”
From the Editor
Publisher ~ Maureen James
Editor ~ Delynn Ellis
Graphic Artists ~ Dave Burnett,
Mark Waterbury
Accounting ~ Rhonda Sewell
Circulation Manager ~ Kathy Gentry
Copy Editor ~ Darlene Welch
Advertising ~ Maureen James
Contributing Designers and Writers
Lidia K. Anderson, Jean Beaulieu
Nancy Bonig, Dennis Brady
Jeffrey Castaline, Delynn Ellis
Carmen Tanis Flores
Leslie Gibbs, Mary Harris
Judy Kean, Hiroyuki Kobayashi
Jane McClarren, Susan McGarry
Paned Expressions Studios, Alysa Phiel
Darlene Welch, Christie Wood
Glass Patterns Quarterly
Issn 1041-6684, is published quarterly
by Glass Patterns Quarterly, Inc.
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Ripple Effect
Welcome to the first ever Glass Patterns Quarterly “Americana” Issue. The term Americana refers to a collection of objects
related to American history, geography, folklore, culture, music,
cinema, and patriotism. While we at GPQ recognize our worldwide
readership, we would like to share some of our favorite American
themes and designs with the world.
The techniques and designs within the following pages can
be translated into any color or theme of your choosing. As with
any of the Glass Patterns Quarterly designs, we encourage you
to interpret the patterns in your own way. Use the stained glass
designs for fusing or mosaics, for example, or use fused inclusions in your stained glass.
Mix and match textures and colors within your own glass supply. We love to offer color
ideas and glass choices, but each issue is really your opportunity to take our suggestions
and mix them with your own creative ideas.
Something else that connects all of us internationally is the invention of social media.
Be sure to “like” us on Facebook and pin us on Pintrest. Likewise, you’ll want to visit our
website at, where all of these social media choices come together
with a treasure trove of past and present information as well as current material from our
sister publications, Glass Art and The Flow. Online media will keep you up to date on the
latest developments and provide new info about our upcoming Glass Expert Webinars™,
events, past projects, and more. Today’s media sources are ever changing no matter in
what form they are found—print, digital, CD, or interactive websites that are close to your
fingertips. GPQ continually strives to adapt to your interests and lifestyle as well, and we
look forward to seeing the comments that you post on the above platforms to help us accomplish that.
The Web offers a new communications landscape with tremendous opportunities for
all. GPQ hopes to continue to be useful, relevant, and engaging to the glass community
and cause a ripple effect of inspiration with glass enthusiasts.
Encouraging you to make great glass,
E-Mail [email protected]
Graphic Transfer
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Patriotic Two-Tiered Server
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©2014 Glass Patterns Quarterly, Inc.
Glass Patterns Quarterly does not stand
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Fall 2014
Ad Closing
Ad Materials
Autumn, Halloween, Christmas, and Holiday Ornaments
June 20, 2013
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July 30, 2014
Winter 2014
Ad Closing
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Wildlife, Winter, and Landscapes
September 20, 2014
October 20, 2014
October 30, 2014
3 From the Editor
Ripple Effect
Glass Patterns Quarterly
by Delynn Ellis
6 Double Star Quilt
Table of Contents
An Introduction to Stained Glass
Design by Lidia K. Anderson
10 Marilyn Monroe
Summer 2014
Volume 30
30 Number
Number 22
Design by Jean Beaulieu
12 Simply Charming
Three Techniques for Creating Glass Pendants
with UV Resin
Design by Leslie Gibbs
16 Fleur-de-Lis
Design Adaptation by Christie Wood
Central Bevel Design by John Plummer
18 Treasures in the Attic
by Judy Kean
22 Eagle and Flag 2
Design by Hiroyuki Kobayashi and Jeffrey Castaline
24 Carousel Horse
Design by Mary Harris
26 Mad Etching Skills
Play Ball! Etched Glass Panel
Design by Carmen Floris Tanis
32 Frank Lloyd Wright–Style Door Panel
Design by Paned Expressions Studio
33–48 16-Page Full-Size Pattern Section
50 Les Paul Electric Guitars
Making Them Your Way in Stained or Fused Glass
Design by Dennis Brady
54 Skyline Silhouette in Glass
Design by Nancy Bonig
58 Patriotic Two-Tiered Server
Design by Susan McGarry
62 The Hitching Post Country Store
Design by Alysa Phiel
69 Marqueza
Design by Christie Wood
70 What’s New
by Darlene Welch
78 Advertisers’ Index
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Double Star Quilt
An Introduction to Stained Glass
Design, Fabrication, and Text by Lidia K. Anderson
uch of America’s history is seen by looking at the history
of quilting. Colonial women had to be creative in their use
of materials. They could not afford to discard garments when they
wore out, so they reused the materials to make blankets and patch
other garments. The same can be true for today’s glass enthusiasts.
For this project I used Spectrum Iridescent and Waterglass to
make the Double Star quilt pattern, one of the many quilt designs
that are plentiful in libraries and bookstores. You can see by the
patchwork shown here that they make great glass patterns too.
Spectrum Glass Co.
I/100G, Clear Granite Iridescent Glass 1/2 Sq. Ft.
543-2W Grape Waterglass®, 1/2 Sq. Ft.
533-1W Sky Blue Waterglass®, 1/2 Sq. Ft.
Tools and Materials
Strip Cutter 7/32" Silver-Backed Foil
1/4" Zinc Came, 45" Came Cutter
Flux Flux Brush Wire, 2"
100-Watt Soldering Iron with Rheostat
60/40 solder Finishing Compound
Needle Nose Pliers
Using the
strip cutter, cut
the glass pieces
for the quilt square.
You will need these sizes and colors:
Clear Granite
• 2‑1/2" squares, 4
• 3‑1/2" squares, 2
• 1‑3/4" squares, 2
• 1‑1/4" squares, 4
• 2‑1/2" squares, 4
Sky Blue
• 2‑1/2" square, 1
• 1‑1/4" squares, 4
For the
shapes, cut some
of the square pieces
on the diagonal.
Solder the panel.
First flux and tack-solder all of the intersections to secure the
panel for soldering. Now flux all of the exposed copper foil and
tin-solder the front side of the panel. Finally, turn the temperature
down on the soldering iron to about 50 percent and bead-solder.
Using the came
cutter, cut 4 pieces
of 1/4" zinc came,
mitering at a
45-degree angle.
You will need to cut the following squares:
• Four 2‑1/2" squares for 8 triangles
Sky Blue
• Four 2‑1/2" squares for 8 triangles
Clear Granite
• Two 3‑1/2" squares for 4 triangles
• Two 1‑3/4" squares for 4 triangles
all of the cut
pieces on the
Foil and
burnish each
piece of glass and
place it back on the
pattern, making sure
that all of the corners
are in square.
Use the inside of the channel to measure 1/4" shorter than the
side of the panel.
Open the
zinc channel
slightly with
a fid.
Turn over
the panel and
begin to attach
one piece of the
zinc channel.
Tack-solder the two intersections of the design slightly over the
frame to secure it to the panel.
Attach the
second piece
of zinc channel,
making sure it is
in square, and solder
the intersections
as in Step 8.
Cut 2 pieces of
wire approximately
3/4" each and create
a loop with needle
nose pliers.
steps 7 and 8
until all 4 pieces
of zinc channel
are tack soldered
to the panel.
Attach the
hooks to the
back side of
the panel.
Flux and solder the corners of the frame, then flux and beadsolder the backside of the entire panel at approximately 50 percent
of the temperature.
Bend the hooks to a 45-degree angle and solder them to the 2
corners on top of the frame. Then turn the panel over and flux and
solder the corners of the zinc. Clean up any uneven solder and file
the corners of the frame with a metal file until smooth, if necessary.
Wash the panel with warm soapy water, rinse, and dry. Then apply the finishing compound, let it dry, and buff to a high silver shine.
Stained Glass Made Easy, From Cookies to Cutters!
Lidia K. Anderson of L.A. Glass is
a native of Sydney, Australia, and it
was there that she began her formal
education in art. In her second year
of college, she moved to the United States and received her
BFA from Bowling Green State University in Ohio.
Lidia spent the next ten years as art director in the field
of television. Recognizing the stresses of the advertising
world, she took the opportunity to find other forms of artistic expression. Her love of glass was born, and she allowed
this creative energy to guide her. What evolved were works
of art that integrated into a more common understanding
of functional living.
The larger body of Lidia’s work is represented by some
of the finest art galleries in the nation. She has had the
privilege of exhibiting with the world-renowned artist, Dale
Chihuly, and has also completed a restoration of eighteen
stained glass windows at a chapel in Ohio. To view more
of her work, visit
New Website
Ask to see them at your favorite retailer! Or call 1-800-250-1790
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
Marilyn Monroe
Design by Jean Beaulieu, Text by Delynn Ellis
arilyn Monroe is still an American icon
over fifty years after her death. In her
own words, she felt that, “If I’m a star, then
the people made me a star.” The continued
popularity of Marilyn Monroe–related items
on eBay and in collector shops is a testament
to the truth of her words.
Famous for her roles in classic movies
such as Some Like It Hot, The Seven Year Itch,
and The Misfits in the 1950s, Marilyn is endlessly analyzed in both the films she created
and those made about her life. Her image still
appears on T-shirts, posters, and coffee mugs.
Now you can keep her memory alive with
the help of this pattern and accompanying
Spectrum glass choices.
Jean Beaulieu captures her beauty and
signature fur stole in this 7-1/2" x 11" panel
from his book, Cinema Icons, available from
his website. This collection of patterns by
Beaulieu captures in glass design the famous
faces from the history of movies. Featured
are twelve movie stars spanning from the
silent movie days with Charlie Chaplin and
the Golden Age of Hollywood with Audrey
Hepburn to modern-day stars, Johnny Depp
and Brad Pitt. Check out the rest of Beaulieu’s
movie star patterns in Cinema Icons, availGPQ
able at
Spectrum Glass Company
291-61S Champagne Ivory for Face, 2 Sq. Ft.
201-61S Ivory Opalescent for Hair, 2 Sq. Ft.
357-1S Red/White for Lips, Scrap
309S Clear/White Wispy for Fur Stole, Scrap
315-6S White/Dark Amber for Eyebrows, Scrap
391-1S Light Amber/White Wispy for Necklace, Scrap
349-1S Pale Purple/White Wispy for Background, 2 Sq. Ft.
Tools and Materials
7/32" Copper Foil Flux Solder
Black Patina Black Glass Paint
1/2" U-Channel Zinc
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
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Toyo Supercutter Series
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Available with the pattern head in
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See the full line of Toyo tools from
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Simply Charming
Three Techniques for Creating Glass Pendants with UV Resin
Design, Demonstration, and Text by Leslie Gibbs
ccasionally, even the most proficient of glass artists
find their brain pans empty and just don’t know what
project to attack next. You know the feeling: Your hands are
twitchy and want to be working on something. Your anxiety
level is escalating. Your eyes are glazing over from reviewing
tutorials. Don’t check in to the closest ER. What you really
need is a shot of retail therapy.
Art glass retailers are a goldmine of ideas. Even if you
don’t need any supplies, visiting your local shop is an energy and
inspiration booster. I enjoy visiting glass retail shops wherever
I happen to be. Seeing what projects they are working on,
discussing new techniques, and examining new products
seem to light that creative spark once again. It was on one
of these excursions—this time to Art Glass Connection
in Cooper City, Florida—that the spark became a flame!
My friend, JoAnna Vitale, always has something new
happening in the shop, and this time it was creating pendants
using a quick drying, odorless resin. Examining the finished
pieces that she had created made me really curious about the process,
so I began the “Spanish Inquisition,” which included prying and general snooping. Intrigued,
I decided I would like to try this technique,
and I think you will also.
Technique 1
Glass Tiles, Gems, and Nuggets
Photography by Jon Gibbs
Assorted Scrap Glass
Thin Dichroics, Thin Sheet Glass
Milleflori, Frit, Iridescent Glass, Glass Tiles
Select glass types and colors as desired.
Tools and Materials
No Days Groutless Mosaic Adhesive Heat Gun
Long Tweezers Craft Glue Alcohol Swabs
Cotton Swabs Toothpicks Pin
Small Scissors Tile Cutters
Lisa Pavelka™ Magic-Glos® UV Resin
Lisa Pavelka™ UV Light
Charms Pendant Trays
Jewelry Cutting Pliers or Small Wire Cutter
Medium-Tip Artist Paint Brush
Optional Inclusions (Photos, Seashells, Pearls, Beads, etc.)
Select a pendant tray, a charm,
and glass background.
For this project, I selected four small, sparkly glass tiles and a
dragonfly charm. You will need only small amounts of any type of
glass. It’s good to have an assortment handy.
The pendant trays are available in many shapes, sizes, and
finishes, even the bottle cap type. Art Glass Connection has deeper
welled 4 mm trays that are custom made for glass artists. These trays
are able to accommodate glass and still have room for inclusions,
plus they already have the bails attached. When your project is finished, you simply slip the pendant onto a ribbon, chain, or whatever
garnish you like. You can find them at
The resin will flow toward the edges of the pendant and create
a nice domed effect. Use a toothpick to push the resin to the edges
if necessary. Let it settle a minute or two. If it’s too flat, add a bit
more resin but don’t overflow the tray. If you do accidently overfill
the tray, clean up the resin with alcohol swabs. You don’t want any
resin on the tray when you pop it into the UV light.
Remove any
bubbles that
appear in the
resin using a pin
or toothpick.
Using a template the size of the
tray you have selected, cut out two
pieces of No Days Groutless and
place them into the tray.
Be sure the entire base of the tray is covered with two layers of
the vinyl. If there are any gaps, you can cut strips of vinyl to fill them.
Place the
glass pieces on
top of the vinyl.
I used small glass tiles that I found at my local retailers. You
could substitute flat-backed gems or nuggets for the background.
Using tweezers, place the charm you have selected onto the fluid
resin. It can be centered, or off center . . . whatever pleases your eye.
Aim the heat
gun at the pendant
and fire away.
In just a few seconds you will see the vinyl become fluid. Your
glass pieces may shift during this process, but the vinyl stays fluid
for a while, which will allow you to adjust the glass. You will notice
that the vinyl begins to puff up and encase the edges of the glass.
The pendant will be hot, so use tweezers to hold on to the bail of
the pendant when making any adjustments. If any of the fluid vinyl
gets on the glass surface, just remove it with a toothpick.
Working from
the center of
the pendant out,
slowly add the
Magic-Glos resin.
Before adding the charm to the
resin, clip off the round loop at
the top using jewelry pliers or
small wire cutters.
Carefully place the
pendant onto the bed
of the UV light and
turn the light on for
about 15 minutes to
cure the resin.
When the time is up, turn off the light, and you will have a lovely
piece of jewelry.
The Magic-Glos resin also can be cured in direct sunlight
if you don’t want to buy a UV lamp. But you need direct sun, not a windowsill, so it’s a great alternative
if you live in a sunny area.
Once you have made a few of these resin
pieces, your mind will begin racing with all sorts
of ideas for pendants, key chains, and bracelets.
I found a box of old and broken jewelry pieces
that I just never could throw away, and I’m glad
I didn’t. Adding some of these old friends to my
projects gave them a sentimental panache.
Technique 2
Glass Mosaic Pieces with Frit Decoration
Give the glue about 10 minutes to dry, then shake off any excess
frit. Clean up any frit that covers the glass bits using a dry art brush.
Working from
the center of the
tray, apply the resin.
Select the shape
tray you will be using,
along with the glass,
frit, and inclusions.
Using the tile
cutters, break
the glass into
small mosaic
Don’t overfill the tray, as you will be adding inclusions that will
raise the level of the resin.
Nip off as many pieces as you like. You can, of course, have a
combination of glasses. Any extra pieces will be saved for another
Inspect the tray
for any bubbles and
remove them using a
clean toothpick or pin.
Clip off the
round loop at the
top with jewelry
cutting pliers or a
small wire cutter
before placing the
charm onto the
resin filled tray.
Using tweezers,
place the mosaic
bits into the tray in
any way that pleases
you and secure them
with craft glue.
The gaps between bits can be as large or as tight as you want.
When you are satisfied with the arrangement, secure the bits in
place using a tiny bit of craft glue. Let the adhesive dry for about
15 minutes.
Carefully place
the tray onto the
bed of the UV light,
switch the lamp on,
and let the resin cure
for about 15 minutes.
Now it’s up to you. Let your creative flag fly!
With an art brush—or toothpick
if the gaps are very tight—apply
a light coating of craft glue in the
gaps between the mosaic bits to
secure the frit, then sprinkle the
frit into the gaps.
Solid Glass or Image Backgrounds
A third approach to this technique is to cut a section of glass the size
of the tray. For this pendant, I used a thin black-backed dichroic glass,
then filled the tray with resin and added a tree charm. With the charm
in place, I added 3 tiny flat-backed rhinestones to represent apples. I
think I will call this piece “The apple doesn’t fall far from the tree.”
There are dozens, even hundreds, of applications and designs that you
can intermix using this fast-curing—and not smelly—resin technique.
If you choose to use artwork, a photograph, or any other paper
background in your pendant, you will want to protect the image from
bleeding and experiencing color alterations. There are several ways
to do this. One way is to encase the artwork between layers of clear
packing tape. By trimming the tape so that it is just slightly larger
than the image, you can seal the edges and prevent seepage. Place the
sealed image in the tray and add the resin and whatever inclusions
you have selected.
Another way to seal the image, which takes a bit longer, is to apply
a light coating of craft glue to the back of the image and place it into the
tray. Press the image down securely and let it dry. When the adhesive
is dry, take an artist’s brush and apply another layer of glue on the top
of the image, being sure to cover the image all the way to the edges
of the tray. Let that layer dry and repeat. At least two coats are recommended. Everything must be completely dry before you add the resin.
Some clever artists use postage stamps as their image. They come in
all sorts of designs and have the advantage of already having adhesive
on the back, so all you need to do is paint the top of the image with a
couple of layers of craft glue.
Leslie Gibbs began her artist’s journey roaming around
the United States, Mexico, and Europe. She finally landed
in South Florida, where she set up her easels and crates of
glass and proceeded to plug in the kilns. Since then, Leslie
has published numerous articles for glass art magazines
and eleven books of stained glass patterns.
Exploring new techniques helps Leslie convey her vivid
mental images into colorful art glass. She approaches glass
design with serious, studied drawings and a wicked sense
of humor. Visit to learn more
about Leslie and her art.
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
Design Adaptation and Text by Christie Wood, Central Bevel Design by John Plummer, GlassCraft Door Company
was raised in Shreveport, Louisiana, and
made a few trips to New Orleans during my
teenage years. I became very familiar with the
history of Louisiana and the symbology of the
fleur-de-lis in representing the French heritage
of Louisiana, and New Orleans in particular. In
2009, I was commissioned to do a very ornate,
clear textured glass panel for a lovely house
there in the 9th District—the one so devastated
by Hurricane Katrina. That client is a close
friend to another of my clients who moved
from New Orleans to the Dallas/Ft. Worth area
after Katrina. I have done multiple stained glass
windows for these clients and wanted to do a
design honoring our heritage.
This 11" x 19" stained glass panel features a
central stylized fleur-de-lis. It was adapted from
a bevel design by John Plummer that is owned
and protected under registered trademark by
GlassCraft Doors. The geometric design elements found in this pattern lend themselves
to just about any decor requirements, since
they can easily be recolored. Variegated glass
colors can add interest to the borders as well.
This project was constructed using the copper
foil technique.
Reminder from GPQ: Be sure you have
permission from the owner before adapting a
trademarked design into your own projects.
Wissmach Glass Co.
DR-118 Cobalt Blue/Opal/Crystal for Background, 2 Sq. Ft.
34 Medium Amber for Fleur-de-Lis and Diamonds, 1/2 Sq. Ft.
WO-58 Medium Amber/Opal/Crystal for Border, 1 Sq. Ft.
WO-705 Violet/Brown/White Opal for Design, 1/2 Sq. Ft.
EM-50 Dusty Rose for Design, Scrap
DRX Blue for Design, Scrap
Tools and Materials
7/32" Copper Foil Flux Solder
Black Patina 1/4" Zinc U-Channel
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
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Treasures in the Attic
by Judy Kean
ow I cherish the lovely collection of tea cups from my family’s
heirloom vintage china that I inherited
from my mother! Every time I use them,
memories of ladies in gloves and hats
at my last tea party fill my mind. That’s
why I started collecting Depression glass
plates. I love the color, shape, and style
of these dishes and how they complement my teacup collection.
Wissmach Glass Co.
4568 Apricot Beige English Muffle for Border, 1/2 Sq. Ft.
94-D Yellow/Pink Opal for Border, 3 Sq. Ft.
156 Light Peach/Bronze Seedy for Outside Border, 3 Sq. Ft.
DR-01 Clear Double Rolled for Center, 2 Sq. Ft.
Tools and Materials
1/2" Zinc U-Came, 6' (2)
1/4" Round H-Lead, 6' (1)
7/32" Round H-Lead, 6' (3) 5/32" Round H-lead, 6' (1)
7/32" Black-Backed Copper Foil, 4 Sq. Ft.
1/4" Black-Backed Copper Foil, 3 Sq. Ft.
60/40 solder, 1 pound Horseshoe Nails
Steel Rulers in Varied Widths Dust Pan and Brush
Morton Layout Strips and Tacks
Grozier Pliers Running Pliers Scissors
Black Putty Putty Brush Cutter Whiting
Grinder D-Ring Flexible Frame Hangers
Safety Glasses
Gel Flux Flux Brush Rubber Gloves Cutter Oil
Light Table Solder Iron and Stand
Carbon Paper Steel Wool White Drawing Stock
Homosote Board Sharpie® Marker Pencils
Cleaning Materials Rags Black Patina (optional)
What is Depression glass? It’s the inexpensive amber, green,
pink, blue, red, yellow, white, and crystal glassware made primarily
during the years of America’s Great Depression from 1929 through
1939. Much of it was transparent, though colored glass became very
popular over time. The dishes were very cheap and were sometimes
given away at theaters, in sacks of flour and boxes of soap, and as
premiums for coupons and trading stamps to encourage people to
buy products by receiving extra value during a time when money
was scarce.
Depression Glass Sources
Many years ago I started adding Depression glass plates to my
stained glass panels so that my clients could showcase the heirlooms
from their own Grandma’s china. That brings us to the best way
to acquire vintage Depression plates—ask your relatives to search
their attics. Depression glass was an inexpensive product, so most
people had some. Other places to find Depression plates are estate
sales, auctions, flea markets, garage sales, Goodwill stores, antique
shops, and eBay auctions.
Normandie Bouquet
& Lattice oval plate,
an example of how
a noncircular plate
can be used in a
rectangular design
Depression ware was used every day, so when you’re selecting
plates to use in your panels, make sure they don’t show scratches
or other signs of wear when you hold them up to the natural light. It
is okay to have a slight rim chip, however, since it will be covered
when you fabricate the panel.
I chose to showcase the Iris and Herringbone design from the
Jeannette Glass Company of Jeannette, Pennsylvania, which was
produced from 1928 through 1932, then again in the ’40s and ’50s.
The plate is an amber iridescent glass similar to Carnival glass,
sometimes referred to as a pink/gold blend or marigold, and has a
scalloped edge rim.
Selecting the Glass
Now is the time to make your glass color selection. I decided
I wanted a clear, lightly textured plain glass so it would show off
the plate. I selected a Wissmach Yellow/Pink Opal to complement
the amber color of the plate. The outside border edge is an antique
seedy beige glass that gives the panel a vintage look. I also added
Wissmach English Muffle as square accents in the corners for a
different texture. At this point I could have selected bevels to use
in place of the English Muffle glass squares. Jewels could also have
been added for vintage accents.
Selecting glass colors
that will complement
the color of the plate
Iris and Herringbone plate
The herringbone textured pattern, which is on the back of the
plate and shines through to the front, provides the background for
the design, while the actual front of the plate is smooth. Full relief
molded iris flowers and leaves form the highly embossed iris that
decorates the main body of the plate, which is embossed on the back
of the plate. The thickness of this plate is very deep—the deepest I
have worked with so far.
Designing the Panel
The first thing you need to decide is the construction of the
panel. I have made these panels where they are 100 percent lead
with zinc borders, 100 percent copper foil with zinc borders, and a
mix of lead and copper foil with zinc. The shape of the plates will
determine this choice. If you are uncomfortable with lead, you can
always make the panels using 100 percent copper foil.
My decision for Iris and Herringbone was lead and copper
foil. The rim of the plate would be difficult to lead, not because of
the shape but because the depth of the rim of the plate is thick and
also angled. So this panel will be 90 percent leaded and 10 percent
foiled with black-backed copper foil. The border will be made from
zinc U-came.
Considering the depth
of the panel when
planning the design
Designing Tip: The reason the lead could not be used on the edge
of the plate in this project is because of the angled pitch of the plate.
A lot of plates don’t have the pitch and can be leaded on the edge.
I recommend that when you
make your first plate panel, you make one that is a normal circle
until you feel comfortable with this method. Using a circle will allow you to do 100 percent lead if you want or 100 percent copper
foil. The plate can be a 12" sandwich plate like the one I used here
as well as a smaller teacup plate or a larger luncheon plate.
Side angle of the
plate and glass
before leading
I use my light box when
selecting glass, but I also bring the glass and plates to natural light
to see how they blend together before I make my final selection.
The glass should complement the plates but not take over.
Remember that you are adding something to a panel that is
thicker than the glass, so you have many options. I have used lace
plated with clear thin glass, feathers, bevels, rondelles, agates, shells,
bottles, and prisms. You could even use butter lids, ashtrays, plates,
glasses, cups, canning jar lids, beach glass, and china in your future
projects. Think outside the box and have fun with your projects.
Planning the Details
When designing the panel, I use two layers of drawing paper
with carbon paper in between for exact copies. I find that copy
centers sometimes distort the size, which can create problems later
during fabrication. If you want to cut the pattern pieces apart, you
may want to make three copies of the
drawing—one to use for layout, one
for soldering, and one for cutting the
glass pieces.
Laying out the design using
drawing paper with carbon
between for multiple copies
Here is a technique that I love to use when making the panels.
I determine the size of the finished panel by usually making it at
least double the size of the width of the plate. This plate is almost
12 inches wide, so the panel is designed to be 24 inches wide plus
the width of the zinc border edge.
Next I draw a 24" square, center the upside-down plate on the
panel, and mark the edge. Then I determine how many borders I
want. Here I chose 3 borders plus the interior glass where the plate
will be centered. I next get out my steel rulers and use the width
of the rulers to draw the borders—not the sides of the rulers that
have length marks, but the body of the ruler from straightedge to
straightedge. This project has 1‑1/2", 2", and 1" borders drawn.
After the glass is cut out and laid out upside down on the pattern,
it is time to copper foil the inside edge of the clear pieces. These are
the only edges that will be up against the plate. The interior pieces
of clear and exterior sides will have lead.
The plate has two layers of black-backed copper foil, the size
of which is determined by the depth and width of the plate edge.
This plate was quite thick, so I used 1/4" foil centered on the edge.
Then I layered another piece of 7/32" foil from the center point on
the edge to the back of the plate. You can determine what size to
use by how much of a soldered border you want to see.
Centering the
copper foil on
the scalloped
edge of the plate
Using ruler widths
as a template
for border sizes
After looking at
the design, I decided
that I wanted to showcase the rim edge of the plate, so I added all
the angle lines to the outside edge of the panel. Then I coded and
numbered all of my pattern pieces.
Glass and plate
before leading
arranged according
to the pattern
Remember what
I said above about
using the rulers? My
method allows you to use a ruler as a guide instead of templates
when cutting the glass. The only pattern that I cut was the clear
interior. This saves on time. If you don’t have rulers with different
widths, you could put the pattern on a light box instead of attaching the pattern pieces to the glass as well. This method for cutting
the glass is called the English method, where the pattern pieces are
placed under and viewed through the glass to provide the cutting
outline instead of attaching each pattern to the glass before cutting.
Always mark the grain of the glass on the pattern pieces as well
as on any leftover glass using a Sharpie marker. This is important
in case you need to replace a piece. For example, you might have
a piece break that has a clear texture and a grain that could easily
be used horizontally or vertically. It will save you time in replacing
the broken piece if you know which way to orient the glass. Let’s
face it. Glass breaks, so be prepared. (Sorry, that comes from my
Girl Scout days.)
Also make sure you mark the pieces for which side you want to be
the front. The reason for this is when you lay the glass on the design
you will be reversing the glass, because you will be constructing
this with the plate upside down due to the depth on the back of the
plate. When I cut my clear glass for the center square, I lay it on
the pattern and draw the plate around the center upside down. The
only time I use my template to cut the glass is in the clear section.
Constructing the Panel
The weight of the plate also
needs to be considered. This plate
happens to be one of the heaviest
I’ve encountered. I could use one
layer of a wider foil, but it is easier
to work by layering narrower foil
when dealing with curves. Decorative solder could be used around the
rim of the plate after soldering the edge to the inner glass.
Next I set up my border with Morton strips to support leading
the panel. I also added zinc border strips and the lead to the panel
at this time, leaving the foil section to be soldered later.
Soldering and leading
the back of the panel
Construction Tip: The plate
should currently be upside down
on the pattern. After you have constructed the back of the panel,
you need to get some supports to shim the panel. Get materials the
thickness of the plate so that when you flip your panel over you can
accommodate the depth when it is laying front side up. You can use
Styrofoam or acoustical board to shim the four corners. The best
thing to do is have your plate rest solidly on the bottom and shim
the corners to balance the panel.
This panel is 24" x 24". If you were building a larger panel, it
would need to be reinforced. The panel gets
its strength from the
zinc border as well as
the lead and the thickness of the centered
Shimming the corners
Finishing Touches
After you have soldered the second side (the front) of the panel,
you can add hanging hardware to the corners. I like to use adjustable
hinged D-rings. You can find these in your local hardware department with the framing supplies. Use one on each top corner and
solder them to the zinc frame. Now putty the panel on both sides
with normal procedures and let it dry completely.
After the putty has dried, use the normal procedure for cleaning
up any stray putty, then polish the lead well with a brush. Finally,
decide if you want to add some black patina to the copper foil edge
around the plate. I normally leave it and let it go natural, but that
is your choice. If you want, you can even add a wood frame to
match your own decor choice. For my part, I buff the project and
congratulate myself.
A plate panel can be your way of taking forgotten treasures in
your attic and passing them down for a new generation to enjoy.
These can be used in place of valances in your decor and will add
a sparkle of color via the marvelous light in your windows. Don’t
forget to sign your project and photograph your unique art. Then
be prepared for others to ask you to create a family heirloom when
they see your finished panel.
These books will help you learn more about Depression glass.
● Collectors Encyclopedia of Depression Glass, 16th
edition, by Gene and Cathy Florence
● Warman’s Depression Glass, 3rd edition, by Ellen Schroy
● ID and Value Depression Era Glassware by Carl Luckey
Judy Kean began her stained glass
career in 1984 and has since shared her
techniques and tips through classes and
presentations. Her work includes fabricated commissions for residential, religious, business, and public installations.
She is also known for the three, twelvefoot-tall stained glass mosaic guitars she
created for the Rock and Roll Hall of Fame and a stained
glass butterfly that was showcased during the“Treehouse
Masters” program on Animal Planet in January 2014.
Judy is owner of The Glass Studio and an active member
of the American Glass Guild and Stained Glass Association.
Through Bottle Decor and Design, her company’s new division, she transforms lighting for restaurants and tasting
rooms for wineries, distilleries, and breweries using art glass
and lighting decor. You can find more of Judy’s glass art at
Photo by Linda’s Lenses
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
Eagle and Flag 2
Design by Hiroyuki Kobayashi and Jeffrey Castaline, Text by Darlene Welch
n 1792, the bald eagle, a bird that is unique to North
America, was chosen by the Congress of the United
States as the country’s national emblem. The majesty
of this proud bird is captured in this 39" x 29" patriotic
panel, one of the beautiful stained glass projects that
can be found in Aanraku Eclectic IV: From the Original Collection Volume IV. The collection features
some of the best patterns from Aanraku Glass Studios
created by Hiroyuki Kobayashi and Jeffrey Castaline.
All of the books in the Aanraku Eclectic series are
beginner projects designed for and done by first-time
students who had never cut a piece of glass before.
Using techniques that make 250- to 1,000-piece
stained glass panels easy to do, Aanraku’s teaching
methods make everyone who studies with them an
accomplished artist with their very first project. Visit to learn more about the studio’s
intensive classes available for beginners, as well as
instruction for current glass enthusiasts who want to
improve their glassworking techniques.
Wissmach Glass Co.
WO-28 Orange/Opal for Flag, 5 Sq. Ft.
51-DDXXMSP Opal/Crystal for Flag, 5 Sq. Ft.
51-DDXXM Opal/Crystal for Eagle Head, 5 Sq. Ft.
199-LL Medium Amber/Dark Amber Brown for Eagle Chest, 2 Sq. Ft.
155-LL Dark Purple/Green/Light Opal/Crystal for Eagle Wings, 2 Sq. Ft.
1-L Silver Yellow/Opal/Crystal for Beak, 1 Sq. Ft.
325-L Light Amber/Opal/Crystal for Beak, Scrap
000 Light Amber for Beak, Scrap
503-D Opal/Dark Gray/Brown for Eye, Scrap
502-L Opal/Medium Gray/Brown for Eye, Scrap
Tools and Materials
7/32" Copper Foil Flux Solder
Black Patina 1/4" Zinc U-Channel
© Copyright 2014
by Glass Patterns Quarterly.
All rights reserved.
~built by artisans for artisans ~
Turn your scraps into glass art with a
Eric Markow (left) and Thom Norris (right) with their Paragon Pearl-56. Eric and Thom spent several years
developing the woven glass technique shown above. Photo by Marni Harker.
“We love the even, consistent heat of the
Paragon Pearl-56” — Markow & Norris
Make matching stands for your projects using
Eric Markow and Thom
Norris are noted for creating
woven glass kimonos, which
have been called “impossibly
beautiful.” The kimonos
weigh an average of 125
peepholes in the front, two
vent holes in the top, mercury relays, and a ceramic fiber lid. The Pearl-56 firing
chamber is 30” wide, 56”
long, and 16 ½” deep (top to
Eric and Thom fire their
glass in nine Paragon kilns.
“Now that we’ve done all our
testing, and have actually
cooked sculpture in the
Pearl-56, it is our favorite kiln
and we love the even, consistent heat,” they said recently.
If you are not yet ready
for the massive Pearl-56,
then choose the exact size
Paragon kiln that you need.
We offer a full range of glass
kilns from the small FireFly
to the intermediate Fusion
and CS clamshells to the
Ovation ovals.
The Pearl-56 has elements
in the top, sidewalls, and
floor. The kiln uses advanced
power ratio technology to balance the heat between the top
and bottom sections in increments of 10%.
The digital Pearl-56 has
lockable casters, levelers, two
For more
on these exciting kilns,
see your distributor, or
call us for a
free catalog.
Autumn Sunset Kimono by Markow &
Norris. The partners fire their glass in
Paragon kilns. Photo by Javier
Constantly finding ways to
make better kilns.
2011 South Town East Blvd.,
Mesquite, Texas 75149-1122
800-876-4328 / 972-288-7557
[email protected]
Master Artisan products are available
from many wholesale distributors and
will be exibited by Victorian Art Glass
at GlassCraft & Bead Expo Las Vegas.
Visit our website to view examples
of different projects you can create
with Master Artisan tools and molds.
“The handiest little hanger for all your
metal-framed panels and small fused glass art”
Master Artisan Products
566 David Street.
Victoria BC V8T 2C8
Tel: 250-382-9554
Fax: 250-382-9552
Carousel Horse
Design by Mary Harris, Text by Delynn Ellis
he Great Northern Carousel is a gem of an attraction in
Helena, Montana, with beautifully carved and painted
animals of all shapes and sizes. The pattern for this traditional 24" x 21-3/4 " carousel horse panel, translated here
into Wissmach glass, was designed by Mary Harris for her
pattern book, Carousel Animals. The inspiration for the
book came from the Helena merry-go-round when Mary
was asked by the carousel’s owner to fabricate panels in
the rounding boards that adorn the top of the menagerie.
The book showcases thirty-four patterns of animals
in everything from the traditional horses, in all of their
adornment and splendor, to Neptune and his seahorse.
You’ll also find various nontraditional carousel animals
that re-create the wildlife of Montana. The fantastic
swirling lines and textures offer various opportunities
for creativity when using your favorite glass with color,
striations, and reflections.
Visit to find Mary’s pattern
book. If you plan to visit Montana, you’ll also want to
check out and fill your eyes with
the wonders of the Great Northern Carousel.
Wissmach Glass Co.
55-L Amber/Green/Opal/Crystal for Background, 5 Sq. Ft.
43-L Burgundy/Opal Rough Rolled, 4 Sq. Ft.
188-L Gray Blue/White Opal for Horse, 1-1/2 Sq. Ft.
65-D Medium Brown/Blue/Opal for Mane, Tail, and Hooves, 1 Sq. Ft.
118-D/118-LL Cobalt Blue/Opal/Crystal for Saddle and Harness, Scrap
145-GSP Dark Amber/Opal/Crystal for Pole, Scrap
13-D Opal/Copper Red/Crystal for Horse Mouth, Scrap
94-L Medium Purple/Amber/Opal/Crystal for Scabbard, Scrap
11-LLG Selenium Red/Amber for Horse Trim, Scrap
237-D Cobalt Blue/Dark Purple/Opal for Horse Trim, Scrap
281-D Purple/Opal for Horse Trim, Scrap
58-D Medium Amber/Opal/Crystal for Horse Trim, Scrap
Tools and Materials
7/32" Copper Foil Flux Solder
Black Patina 1/2" Zinc U-Channel
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
Look for the
gold circle blue
letters and it’s
in the bag.
• Excellent Quality
• Exact Tolerance
• Dead Soft Copper
• Best Tack and Adhesive
• Black Coated
& Silver Coated
• Vinyl & Paper
Sandblast Resist
• All copper foil can
be cut 1/8" up to 35".
• Customer names can be printed on the bags of foil
free of charge.
• All of our sandblast resist can be slit from 1/8" up to 24".
• Wider rolls of copper can be cut with craft shears
for different designs.
(866) 397-4777
(718) 788-8108
Mad Etching Skills
Play Ball! Etched Glass Panel
Design, Fabrication, and Text by Carmen Flores Tanis
lay ball! Although I’m not a big sports fan, I am a
baseball history buff. I don’t know what fascinates me
most. There’s the beauty and grace when a team works
together efficiently and the simplicity and silliness of
athletes hitting a ball with a stick and running in a circle.
There is also the comforting sense of legacy and tradition
when something is passed on from one person to another
through the years and the crazy stories that are as true
today as when they were first lived over a hundred years
ago. It is all amazing.
Well, lucky for us that the Library of Congress has
an extensive collection of historical baseball artwork that
is now out of copyright, in public domain, and available
for free downloading. For this project, I chose brightly
colored posters, illustrated baseball cards, and a sepiatoned photograph. If you’ve been following along with
my previous GPQ articles, you’ll have guessed that I used
my Mad Craft Skills Printable Resist Film and Etchall
Etching Cream to make this dichroic glass panel. Glass
and baseball—what a winning combination!
96 COE Black-Backed Smooth Dichroic Glass
Blue Gold, 1/4 sheet
Magenta Green, 1/4 sheet
Cyan/Red, 1/8 sheet
Cyan/Copper, 1/4 sheet
Red/Silver, 1/4 sheet
Additional Glass
Green Streaky, 2 Sq. Ft.
Mad Craft Skills™
Printable Resist Film, 3 sheets
Tools and Materials
“Play Ball” Etched Panel Artwork and Pattern Sheet
Access to Laser Printer Computer with Photoshop
Scissors Glass Cutter Breaking Pliers
Alcohol or Glass Cleaner Paper Towels
Pancake Griddle or Electric Skillet
Oven Mitts Ceramic Tile or Heat Proof Surface
Plastic Spatula Tweezers Etchall Etching Cream®
Squeeze Bottle Paint Brushes, 2
Protective Gloves Metal Cookie Tray
Yellow or White Fine-Tipped DecoColor® Paint Marker
Contractors’ Solvent™ All Natural Orange Cleaner
MAC® Craft Glue Clear Silicon Adhesive
American Easel™ 10" x 20" Deep Cradled Birch Painting Panel
400-Grit Sandpaper Wood Stain Wood Sealer
Wood Burning Tool Picture Hanging Hardware
The three baseball cards in the glass panel are Joe Tinker, Johnny
Evers, and Frank Chance, who together formed a powerhouse trio
of infielders for the Chicago Cubs from 1906 to 1910 that is still
talked about. The phrase “Tinker to Evers to Chance,” first penned
in a poem by newspaper columnist Franklin Pierce Adams, has
come to mean a slick and streamlined multipart action. I spaced the
cards out on a curve to try to capture a little movement and flow
reminiscent of a ball thrown from player to player.
The “Two Men Out” glass piece in the top left corner is from a
1909 chromolithograph while the “Pennsylvania vs. Georgetown”
piece on the bottom left is from a color poster painted by John E.
Sheridan in 1905. I added a lovely quote by Peter Ueberroth that
expertly captures the spirit of baseball. The final piece of the panel
was etched using a 1926 photo of the New York Yankees, with a
young Babe Ruth standing in the center back. The glass pieces
were glued with a water soluble glass glue and stacked so that they
appear to float above the background. This is a great way to use
noncompatible glasses. As a final touch, I added some decorative
wood burning to the wood panel base to remind viewers not only
of the stitching on a ball but also of the Louisville Slugger labels
that are burned onto wooden bats.
I used various methods to convert my selected color images into
the high contrast black-and-white artwork that is needed for the
printable resist. Depending on the original image, some converting
methods are more appropriate than others. In the following tutorial,
I will explain how you would go about prepping a sepia-colored
photo by using halftones, much as you would prepare artwork for
silk screening. A halftone is a pattern of dots varying in size, shape,
or spacing that are used to simulate the gradients and tones that are
present in a photo. The dots are so tiny that the eye perceives them
as a seemingly smooth color blend the way the eye sees things in
comic books. I will show you by using Photoshop CS3 on a Mac,
but once you understand the process you’ll be able to adapt it to
your own operating system and favorite graphics program. (But
don’t worry. I prepped all the artwork for you already, so if you just
want to skip ahead and start etching, you can.)
Prepping a Photo in Photoshop using Halftones
Unlock the “background layer”
in the Layers panel by double
clicking on the little lock, then
change the resolution size.
A window will appear where you can rename the layer. Hit
“OK.” Make sure that the background layer is always active and
blue colored.
Now go to the top menu, select “Image” then “Image Size” from
the drop-down menu. In the window that appears, check “Constrain
Proportions,” uncheck “Resample Image,” and set the resolution to
300 pixels/inch to get a nice quality print. You can size down from
the original dimensions, but avoid sizing up larger than the original,
because the quality will not be good. In this case, we are changing
from 1200 dpi to 300 dpi. Hit “OK.”
Crop the picture to size
using the cropping tool,
then lighten the faces.
Go to the top menu, select “Image,” then “Adjustments” from the
drop-down menu, then “Levels.” In the window that appears, slide
the three little triangles that are under the “mountain” to adjust the
light levels. I changed it so that the numbers read “17/1.88/255.”
Hit “OK.”
Download the
photos in TIFF
format from the
Library of Congress
website and open
them in Photoshop.
Any version of Photoshop will work, although there might be
some variation as to where the following commands live. Here are
the direct links to the photos:
Chicago Cubs Trio,
Two Men Out,
Pennsylvania vs. Georgetown,
Change the
color mode from
color to grayscale
by going to the top
menu, selecting
“Image,” then
“Mode,” then
When the window pops up asking if you want to discard all
color information, click “Discard.” This knocks out all the color
so that everything left is black, white, and gray. In the last step we
will also get rid of all the gray.
Flip the image.
The image needs to be flipped so that it will etch in the correct
orientation, so go to the top menu, select “Image,” then “Rotate
Canvas,” and “Flip Canvas Horizontal.”
Making the Glass Panel
Prepare the
wood surface
and burn the baseball
design into the wood.
Invert the colors
so that the eyes of
the players will etch
black and the uniforms
will be dichroic.
When deciding what will resist and what will etch, remember
that if it prints black it will stay dichroic and white will etch away.
From the top menu, select “Image,” then “Adjustments,” and finally
Create the halftone
screen to make
everything go
completely black
and white.
We’ll be converting to the “bitmap” mode, which will get rid of
all the grays. However, remember that you won’t be able to make
any more changes without reverting back to your present grayscale
color mode, so crop and lighten now if you need to before going
on to the next step.
Ready? Go to the top menu and select “Image,” then “Mode,”
then “Bitmap.” When the window pops up asking “Flatten layers?”
click “OK.” When another window pops up, change the resolution to
300 pixels/inch. Under “Method,” select “Halftone Screen.” When
yet another window pops up, enter 300 for the Frequency and 45
for the Angle. Set the shape to “Round.” Hit “OK” and you’ve got
a completely black-and-white image ready for printing onto a sheet
of printable resist.
After you print but before you hit “Save,” hit “Undo” so that
you are back to your inverted photo in grayscale. That way you will
have a copy where you can make changes without having to start
all over again. Hit “Save.” Hooray! Remember, each photograph
that you use will require slightly different settings for the optimal
etch, so make adjustments according to your liking. All right—it’s
etching time.
I used a wood panel from the canvas section of the art supply
store. Smooth out the panel with sandpaper and wipe clean. Use a
wood burning tool to burn a simple baseball stitching design along
the sides and top edges of the wood surface.
Add a bit of
color to the plain
wood surface with
wood stain, let dry,
then apply a coat
of acrylic for a
nice sheen.
Follow the manufacturer’s instructions when applying the wood
stain. Attach hanging hardware to the back of the wood surface.
Cut the dichroic glass pieces, green glass “spacers,” and background according to the pattern sheet. The small green glass spacers will be glued in between the background glass and the dichroic
pieces for a floating effect.
You’ll find complete directions for applying the Mad Craft
Skills printable resist sheets and etching the dichroic glass in the
Spring 2013 and Fall 2013 issues of Glass Patterns Quarterly.
**Please note: It is very important that the white areas of the images print as pure white and the black images as dark as possible.
Therefore, the artwork for this project is not included on the printed
pattern sheet, since downloading the free PDF pattern under the
“How To” section on the GPQ website and printing it at 300 dpi
will give you the best results.
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Arrange the dichroic/spacer stacks on the green background
glass, then use some MAC glue to adhere the stacks in place. Let
dry overnight. Hang up and enjoy!
Pretty cool huh?! Is your mind spinning? Good! Now you can
etch your own photos onto dichroic glass and make all sorts of wonderful things. I can’t wait to see what you make, you mad etcher, you!
Apply the resist.
Etch all of the dichroic glass and remove the resist following the
directions in the 2013 GPQ magazine articles.
Here are a few tips when working with printable resist printed
from halftone artwork:
• All of those little dots put up quite a fight, so to make sure they
stick to the glass, use a lot of pressure when burnishing the resist.
• Once they are adhered to the glass, the little resist dots have a
tendency to stick in all of the tiny etched areas, so be extra careful
when you remove the resist.
• I like to use Contractors’ Solvent Orange Cleaner by itself to remove the paint pen and resist instead of using nail polish remover
and an off-brand orange cleaner. Just let it soak about twenty minutes
before you wipe it away with paper towels. Worth every penny!
Fire-polish the
etched shapes and
the background piece
to make the dichroic
pop and to soften the
cut edges.
Do not fire-polish the spacer pieces. My favorite fire polishing
schedule is at the end of this article.
Use the MAC
glue to adhere the
green spacers to the
backs of the dichroic
pieces and let dry
fifteen minutes.
Here’s my favorite fire polishing schedule:
Segment 1: Ramp 800ºF/hr to 250ºF and hold 5 min.
Segment 2: Ramp 800ºF/hr to 500ºF and hold 5 min.
Segment 3: Ramp 800ºF/hr to 750ºF and hold 5 min.
Segment 4: Ramp 600ºF/hr to 1250ºF and hold 20 min.
Segment 5: Ramp 600ºF/hr to 1325ºF and hold 10 min.
Segment 6: Ramp 9999 (AFAP*) to 1000ºF and hold 10 min.
Segment 7: Ramp 200ºF/hr to 975ºF and hold 20 min.
Segment 8: Ramp 200ºF/hr to 750ºF and hold 1 min.
*as fast as possible
Use the
silicone adhesive
to adhere the green
background glass to
the wood surface and
let cure for one hour.
Fire-Polishing Schedule
Carmen Flores Tanis is a mixed
media artist, crafter, and designer who
specializes in combining diverse materials in unusual and unexpected ways.
She has been working with glass for
about fifteen years and delights in sharing her discoveries with fellow artists.
A Designer Member of the Craft
and Hobby Association, Carmen has
two successful online craft supply
stores. She has designed projects for Etchall, Jacquard,
Smoothfoam, Sulky of America, KoolTak, and iLovetoCreate. Her secret to crafting happiness is found within the
three Ps—patience, practice, and power tools.
Carmen teaches glass and digital classes regularly at
Coatings By Sandberg (CBS) in Orange, California, and
most recently has taught at the 2014 Glass Craft Expo
in Las Vegas, Nevada. She lives in Glendale, California,
with her beloved husband, Bruce. You can see more of
Carmen’s work and find out about upcoming classes at and
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
Best of GPQ
On each of the Fusing 1 & 2
CDs you’ll find a collection of sixtyseven fusing and kiln-fired projects
in PDF format.
Screen It On
Screen Printing Kit for Glass
For Glass Artists Looking for a Fast
and Easy Way to Produce Their
Favorite Designs on Glass
No Exposure Unit Required
On the Etching CD you’ll find a
collection of fifty-eight etching projects in PDF format.
The articles on all three CDs
were selected from over twenty years
of Glass Patterns Quarterly archives.
Most of these projects are
step-by-step and include four-color
Ask your favorite supplier or visit
From Artwork to Finished
Print in 8 Minutes!
Produce 30 to 40 prints per screen
Mention this ad for a 20% discount
[email protected]
Frank Lloyd Wright–Style Door Panel
Design by Paned Expressions Studios, Text by Delynn Ellis
lthough mainly known for his American Prairie architectural style, Frank Lloyd Wright also designed over 4,000
leaded glass windows and doors for over 150 of his buildings.
He is known for his strong use of horizontal lines and geometric abstractions of natural elements, as we can see in this
12" x 35" Water Lilies design. It’s one of 130 patterns from the
Don’t Slam that Cabinet Door pattern CD by Glass By Appointment Studio, a Paned Expressions Studios Collection. Adapted
by Paned Expressions, this unrealized stained glass window
was designed by Wright in 1895 and meant to be installed in a
cabinet door. The frame was constructed using 3/8" U-flat came
and uses cabinet mirror clips to secure the panel onto the back
of the routed frame.
All of the 130 patterns included on the Don’t Slam That
Cabinet Door CD are full-size patterns in color and blackand-white versions. They can be flipped, doubled, resized,
and recolored to fit any decor and are appropriate for kitchen
and bathroom cabinets, wine cellar doors, lantern covers, and
a host of other applications. The CD contains image files only
with no software included, but all of the patterns are provided
in color plus black and white versions. The .jpg, .tif, and .eye
(for GlassEye) formats for both PC and Mac make them easy
to resize, reshape, and recolor. Glass enthusiasts from beginner
and intermediate to advanced levels will find something exciting
in this collection of geometric, nature, floral, contemporary, and
traditional designs.
Wissmach Glass Co.
600 Dense Opal/Light Gray
for Background, 2 Sq. Ft.
WO-325 Light Amber/Opal/Crystal
for Border, 1 Sq. Ft.
191-D Medium Green/Opal/Crystal
for Leaves, 1 Sq. Ft.
569-D Champagne/Opal/Crystal Dense Base
for Flowers, 4 Sq. Ft.
281-L Purple/Opal Light Base
for Interior Design Elements, 1 Sq. Ft.
281-D Purple/Opal Dense Base
for Border Accents, 1/2 Sq. Ft.
200 Bone Cast Opal
for Interior Design Elements, 1 Sq. Ft.
Tools and Materials
7/32" Copper Foil or H-Channel Zinc
Flux Solder Black Patina
1/2" U-Channel Zinc
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
Peacock Green
Patty Gray
A color this rich and sumptuous deserves a name that struts a little... Welcome
new Peacock Green Opal, a deep blue-green that adds a stunning new
dimension to the System 96® Opal palette.
Available in Sheet Glass and Frit.
This versatile color works equally well with
bright, bold colors or with more earthy tones
such as the Fusers’ Reserve™ shown at left.
Les Paul Electric Guitars
Making Them Your Way in Stained or Fused Glass
Design, Fabrication, and Tutorial Text by Dennis Brady, Intro by Delynn Ellis
othing says “USA” like a rock ’n’ roll guitar. Many
electric and acoustic models are made in America using multiple woods and colorful bases and are considered
to be works of art themselves. The brand and model of
a guitar is very personal to most guitarists and can be as
endearing as a beloved pet. While rock ’n’ roll was born
in America, this stained glass Les Paul guitar comes to us
from Dennis Brady’s design studio in Canada. That’s
rock and roll—a universal language. While many
of the patterns from GPQ can be adapted to
either fused or stained glass, this tutorial
from Dennis shows you how to do both.
Spectrum Glass Company
230-72SF Medium Blue for
Guitar Body, 1/2 Sq. Ft.
200S Solid White Opal for Guitar Head, Pegs,
and Pickup Bases, 1/4 Sq. Ft.
1009S Black Cathedral for Guitar Neck, 1/4 Sq. Ft.
Tools and Materials
U-Channel Lead, 4' 1/4" or 7/32" Copper Foil
14-Gauge Copper Wire, 2 Ft.
18-Gauge Copper Wire, 6 Ft. 60/40 Solder
Creating the Stained Glass Version
Cut out all
of the glass pieces
using the pattern.
Wrap all of
the guitar pieces
with 1/4" or 7/32"
copper foil, then wrap
the neck and head
together with the
U‑channel lead.
Using the Fret
Assembly diagram,
solder 14-gauge wire
onto the neck as frets.
It’s easiest if you leave the wire overhanging past the edge and
cut it off after it has been soldered.
Solder a piece of 14-gauge wire
about 1" long onto the lead
wrapped around the guitar head.
Hold the solder-tinned pegs onto the wire and solder to attach.
Cut off the excess length of wire. The finished assembly should
look like the photo on the right.
Tack-solder the 2 body
halves, then wrap the body
with U-channel lead.
Solder the
neck assembly
to the body.
Make eighteen 5‑1/4"-diameter
and five 6‑1/8"‑diameter rings
from the 18-gauge copper wire
and fill them with solder.
Solder the
pickup bases
to the body, then
solder a piece of
U-channel lead to
the body as a bar
to hold the strings.
Solder lengths
of 14-gauge copper
wire across the back
of the head to hold
the pegs.
Solder six
solder-filled rings
onto the bottom
side of each of the
pickup bases.
Solder a
solder-filled ring
onto the head in
front of each peg
to hold the wire
copper wire to
the solder-filled
Also cut out a piece of clear glass as a base layer for the neck and
head, but with the neck 1‑3/4" shorter and the head 1/4" narrower
than the colored glass pieces.
Bend the
wire string to
the appropriate
position on the top
fret and solder
in place.
Solder the
18-gauge wire
string to the lead
channel base.
Using the Fret
Assembly diagram,
glue pieces of White
stringer onto the neck
as frets.
Position the
Clear neck/head
base layer up
against body.
Finish by gluing the 6‑1/4" solder-filled rings to the body, one
on the upper left of the body for the toggle switch and four on the
lower right side for the controls.
Creating the Fused Guitar
System 96®
100SFS Clear for Guitar Neck and Head Base, 3/4 Sq. Ft.
60-93-96 Rootbear/Cream for Guitar Body, 1/2 Sq. Ft.
1009SF Black for Neck and Bridge, 1/2 Sq. Ft.
210.71SF Ivory Opal for Head
and Pickup Bass Pieces, 1/4 Sq. Ft.
S-200-96-5 White Stringer for Frets
S-1108-96-5 Amber Stinger for Guitar Strings
Additional Glass
1/2"-Diameter White or Ivory Nuggets, 5
1/2"-Diameter Gray or Black Nuggets, 6
Cut out the
glass pieces to
get ready for
Assemble the
body, neck,
and head.
Place the neck with the frets attached over the clear base with
the neck lapping 1‑3/4" over the top of the body. Place the head
above the neck on the clear base.
Place the pegs and
nuts on the guitar neck.
Place the pegs in position under the side of the head. (That’s why
the clear base is made 1/4" narrower than the head.) Place the glass
nuggets on the head as nuts. You can either use purchased nuggets
that are 96 COE compatible or make them from 1/2" squares fired
to a full fuse.
Unique Glass Colors
Manufacturers of Kiln Fired Glass Colors
MUD, Glass Separator, FREE and ACCENTS
ACCENTS and Artisan Colors
Assemble the body.
Place the two pickup bass pieces and the bridge on the body. Use
a White or Ivory glass nugget on the upper left as a toggle switch
and 4 White or Ivory glass nuggets on the lower right of the body
for the controls.
It’s time to fuse the guitar. I used the following kiln schedule,
but you may have to make some adjustments to fit the way your
own kiln operates.
Place the assembly in the kiln and fire to tack fuse, making
any necessary adjustments in time or temperature to fit your own
particular kiln.
Segment 1: Ramp 400°F/hr to 1000°F and hold 20 min.
Segment 2: Ramp 850°F/hr to 1350°F and hold 15 min.
Segment 3: Ramp FULL (AFAP*) to 960°F and hold 60 min.
Segment 4: Ramp 400°F/hr to 300°F and no hold.
*as fast as possible
UGC ACCENT Gold with clear glass for frit then use as
grout for glass pieces created with our Artisan Colors
for truly outstanding, UNIQUE and truly innovative
[email protected]
407.261.0900 Fax: 407.331.0900
To finish, attach the amber glass stringers as guitar strings and
glue them on the top and bottom with your favorite brand of glue.
Use a candle to slightly bend the strings to angle them from the
upper fret to the nuts. Now it’s time to admire your work. GPQ
Dennis Brady has been a full-time
professional glass artisan since 1980 and
currently works with stained glass, fusing,
casting, glassblowing, and sandblasting.
He has authored and published six books
of stained glass patterns plus A Lazy Man’s
Guide to Stained Glass. Along with his sons, Dane and Jason
Brady, he operates several companies. DeBrady Glassworks
produces glass art; Victorian Art Glass sells tools, equipment,
and supplies; and Master Artisan Products manufactures
molds and tools for glass artisans. He has also created the
website Glass Campus, which offers over 100 tutorials and
videos teaching numerous glass art techniques as well as tips
on how to make a living as a glass artisan.
Dennis teaches extensively in his home studio in Victoria,
British Columbia, Canada, and as a guest instructor in several other countries. His “push the boundaries” approach to
experimentation and innovation is always, “How fast can I go
until I skid into the ditch?” Visit to learn
more about Dennis and his art.
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
Skyline Silhouette in Glass
Design, Fabrication, and Text by Nancy Bonig
Experimenting with Color and Perspective
For a change of pace, you can change all the colors of the glass,
using the same basic template and get a totally different look.
Creating a mirror image will allow you to see the skyline as if you
were viewing the city from a different compass point.
ost major cities have landmark buildings and bridges with
unique shapes that make them strongly recognizable. The
skylines of major cities in the United States and around the world
can be memorialized in glass for nostalgia and interest. We will be
looking at different skylines and how to re-create your favorite by
utilizing some design tips.
First off, you will not be able to include every feature of your
skyline, since many of the buildings that make up the silhouette of
a city have no particular characteristic or significance. The overall
effect of the skyline is greatly improved from a design and construction standpoint if you eliminate some of these distractions.
Start by looking at an image of your city skyline. You can use a
photograph, a postcard, a line drawing, or a graphic image. Basic
silhouettes of major American cities can be found on the Internet
using your favorite search engine. A few sites I can recommend
for detailed black-and-white images are,, and
90 COE Compatible Fusible Glass
3 mm Opaque or Translucent Dark Blue
or Dark Purple for Background, 10" x 14"
Dichroic Glass
3 Colors of Scrap Glass for Buildings (solids, patterns, and textures)
Additional Glass
Assorted Stringers, Frit Balls, Murrine, and Clear Glass for Architectural Accents
Dichroic Frit for Stars
Tools and Materials
Drawing Paper and Card Stock in Contrasting Colors
Skyline Photo or Drawing Pencil Scissors Ruler
Double-Faced Tape Sharpie® Marker
Basic Glass Cutting Tools Grinder Glass Cleaner
Thinfire Paper or Prepared Kiln Shelf
White Glue, Fusing Glue, or Non-Aerosol Hair Spray
Take the skyline of Seattle, Washington,
for example. This figure shows a line drawing
of the silhouette of the city. Even strangers to
the area will recognize the shape as Seattle
because of the presence of the Space Needle.
There are other buildings on the horizon that
are interesting from an architectural standpoint, but they might not have any significance
to a resident of the city. Keep that in mind as
you create your own skyline.
Using a
diagram of
your desired skyline,
plan which buildings
you will remove and
what you will keep.
Cut more
contrasting paper
shapes in various
widths from 1/4"
to 1" and place them
between the buildings.
You can see here where decisions are being made as to which
buildings will remain in the final piece and which can be eliminated
to make the design more pleasing to the eye. As you plan your project, keep in mind the size of your final piece and whether it will be
in a portrait or landscape orientation. Choose the buildings that have
the greatest significance based on architectural interest, height, and
iconic meaning in your particular city. Limit your major buildings
to one for every 2‑1/2" of background glass.
Try to alternate sizes
so that no two strips of
equal width are next
to each other. The image on the top shows
the strips in place. The
image on the bottom
shows how shortening
some of the strips gives
contrast to the featured
buildings, making them appear taller. You may angle some of the
building tops at 45 or 60 degrees to make them more interesting.
Once you have everything in place to your satisfaction, you are
ready to cut glass.
Cut the featured
building shapes
from paper, arrange
them on the skyline,
and attach them with
double-faced tape.
Cut the
glass to the
desired shape.
Draw the size of your
background glass on a
sheet of paper and use a
contrasting color to cut
out the basic shapes of
your buildings. Determine which one of your buildings will be the primary focal point
of your composition and make it the largest, then adapt the size of
the other buildings to your main focal point building.
At this point you are only going to determine the placement of
the major buildings. In the photo accompanying this step, you will
see two different ways to place the buildings. The version on the
top shows the buildings arranged according to height. You may
prefer to arrange your pieces this way. The version on the bottom
shows the buildings with the focal point building placed slightly
to the right of center and the other buildings placed to either side
with their highest points drawing an imaginary line up to the top
of the focal point building.
Irregular spacing between the buildings is preferable to spacing
the buildings the same distance apart. Once you have determined
your preferred arrangement of the buildings, use double-faced tape
to hold them in place so you can fill in the negative spaces with
your “filler” buildings.
My skyline is of Denver, Colorado, which has the natural background of the majestic Rocky Mountains. I make my buildings out
of dichroic glass using various patterns, textures, and colors, so I
choose a dark blue or dark purple Bullseye glass for my background.
Illuminated from the front, these colors provide a vibrant background for the dichroic glass, but they also take on the appearance
of the night sky when lit from behind.
I wanted the top edge of my piece to suggest the Rocky Mountains, so I hand-drew a horizon of the mountains and cut the top
edge to appear like a mountain range. You may create your own
skyline using any glass you choose as long as you make sure it is
compatible for fusing. Use the rolled edge of the glass for your top
line, cut it straight, or cut the edge, as I do, to suit your design. The
glass used for the buildings themselves should be opaque, but the
background glass and any embellishments used on the buildings
may be opaque or translucent.
Before you choose the glass, find photos of the main buildings
and print them to have for easy reference. Structures that are characterized by a lot of detail will require a solid color glass, while
others may be recognized by their shape alone, allowing you to use
patterned glass. Stick to your favorite color palette, but don’t use
more than three colors for the entire skyline. The intent is to convey
a pleasing composition without too many distracting elements.
The Four Seasons Hotel in Denver has a distinctive façade, so
I added contrasting stringers that I made from dichroic glass, a
cap for the top of the building in contrasting glass, and the rooftop
antennae. I also did this for the four featured buildings in the skyline, and I added one or two additional windows or stringers on the
lesser buildings.
Assemble your
work surface with
several choices of glass
in your chosen colors,
images of the buildings
in your skyline, and
your finalized design.
Start with your focal point building and determine if the shape
alone can make it identifiable or if you will need to add architectural
elements. My focal point building is 1600 Republic Plaza, which
will have windows added, so I chose a solid color of dichroic glass.
The second major building in my skyline is what Colorado residents
call the “Cash Register” building. I can use a patterned glass on it,
since its silhouette is recognizable.
Now that the colors and patterns of the main buildings have
been established, choose and cut glass in complementary colors for
the remaining buildings. Keep in mind how the pieces look next to
each other. I alternate colors, put my most prominent glass in close
proximity to my focal point building, and make sure that I don’t
have two patterns together.
When all of
your choices have
been made and the
glass has been cut,
place the pieces onto
the background glass
just as they appeared
on your template.
Lay the
finished piece,
with everything
glued in place, on a
sheet of Thinfire or
a prepared kiln
shelf and place
it in the kiln.
Firing temperatures are different from kiln to kiln, but for this
piece I used the following firing schedule in my own kiln:
Segment 1: Ramp 300°F/hr to 1225°F and hold 40 min.
Segment 2: Ramp 600°F/hr to 1365°F (tack fuse) and hold 15 min.
Segment 3: AFAP* to 900°F and hold 90 min.
Segment 4: Ramp 100°F/hr to 700°F and no hold.
Segment 5: Cool to room temperature.
*as fast as possible
If you like the way your skyline looks and all of the buildings
are recognizable to you because of their silhouette, glue them in
place, assemble them in your kiln on a kilnwashed shelf or paper,
and fire away! If not, this is where you get to add “the jewelry.”
Since my skyline is at night, I also added crushed up dichroic
silver frit to the background glass. The frit will fire as stars.
Use scrap
glass and the
contrasting paper
templates you used
to design your skyline
to provide you with
templates for each
Look at the
photos of your
chosen buildings and
see what architectural
elements you can
feature to help identify
Add any additional
desired “bling” to the
buildings, including
dichroic frit balls,
stringers, noodles, and
small windows cut from
patterned dichroic glass.
After the
kiln has cooled
to room temperature,
remove the skyline,
clean off any Thinfire
residue or kiln wash,
and display in the
stand of your choice.
I make various stands for my kiln worked glass, but commercial
stands are also available. Enjoy experimenting with different colors,
glass choices, and configurations to make each skyline unique!
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
State of the ART Dichroic Glass
Nancy Bonig has been working
full time in glass since 1996. She
designs and creates most of her
kiln worked pieces with the hope
that they will be functional as well
as decorative. The design process
starts with the finished piece in mind—it’s final size, shape,
bend, and function. Then she draws on the influences of the
Art Deco period, with its sleek, geometric forms and stylized
imagery in decoration and design, while constantly experimenting with line, color, texture, and balance to achieve a
pleasing whole.
Nancy tries to learn something new with each project,
whether it be design, color combinations, or firing techniques. Working with glass, she has learned to respect the
material, be awed by its transformation with heat, and wonder at future possibilities. To see more of her current work
go to or
“Flight into Fantasy”
We have what
you need in
90, 96, and
104 COE.
for our
New 2014
16813 Radholme Ct., Bldg. B
Round Rock, TX 48664
512-246-1122 (phone)
512-246-1133 (fax)
[email protected]
Three Dimensional Kits
Renaissance Man, Denny Berkery, knows glass and he knows kilns.
“Olympic consistently brings innovative products to the glass market for fusing
and annealing.”
Go with a renaissance company – Olympic Kilns, and for
more about renaissance man, Denny Berkery, visit
Each kit contains a solid cast body that
accepts copper, antique patina or paint,
and a full-size pattern with instructions.
“Flight Into Fantasy” kits offer
Hummingbirds, Angels, Cardinals,
Eagles, Ducks, Rooster, Dragons,
Elf & Santa Faces, Dove, Moths,
Flowers, Fairy Lady, Butterflies,
Macaw, Parrot, and Victoria.
Available at your local
stained glass supplier
Building the Finest Kilns
for Your Creative Spirit!
Phone (800) 241-4400
(770) 967-4009
Fax (770) 967-1196
Denny Berkery, glass artist,
businessman, teacher and author.
Patriotic Two-Tiered Server
Design, Fabrication, and Text by Susan McGarry
his two-tiered server features a patriotic fractal pattern
border and center that makes it the perfect serving dish
for your Fourth of July get-together and beyond. By using the
Triangular Pattern Bar Mold, you can make a beautiful new
set for every holiday.
I also used a product I love, Universal Mold Coat, for
this project. It turns any glazed ceramic dish into a slumping
mold, which makes the possibilities endless. When you are
done using the dish for slumping, just wash off the Universal
Mold Coat and put it back in your kitchen cabinet.
For this project I used two glazed ceramic trays that I found
at a thrift store, so you won’t be able to duplicate it exactly.
But you will be able to create beautiful glass pieces with the
trays you find yourself or with something you already have
in your kitchen.
Bullseye Glass Co.
113 White Opal
147 Deep Cobalt Blue Opal
224 Deep Red Opal
113 White Opal Stringer, 2 mm
224 Deep Red Opal Stringer, 2 mm
Clear Transparent Tekta, 12" x 24"
Tools and Materials
ARTiFILL™-16 Triangular Stainless Steel Mold
Aanraku AANP-TTT2 Two-Tiered Tea Server Hardware
Spectrum Papyros® Kiln Shelf Paper, 4" x 16"
Universal Mold Coat Kitchen Scale
2 Glazed Ceramic Serving Trays
Morton System or Other Strip Cutter
1/8" Fiber Paper, 2" x 2" 1"-Thick Durablanket® Fiber
1/4" Diamond Tech Core Drill Bit Sharpie® Marker
Wet Tile Saw Drill Press Disposable Paint Brush
Elmer’s® Glue Small Dish Water Vinegar
Using a disposable
paintbrush, apply the
Universal Mold Coat
to the glazed ceramic
serving trays.
Follow the manufacturer’s instructions for mixing and applying
the coating.
When the
Universal Mold Coat
is thoroughly dry, fill
the center section of the
smaller tray with the
1"-thick Durablanket
Segment 1: Ramp 350ºF/hr to 1225ºF and hold 30 min.
Segment 2: Ramp 9999 (AFAP)* to 1490ºF and hold 20 min.
Segment 3: Ramp 9999 (AFAP)* to 900ºF and hold for 60 min.
Segment 4: Ramp 9999 (AFAP)* to 700ºF and hold 1 min.
Segment 5: Cool to room temperature.
* as fast as possible
Trim the Durablanket fiber to fit the section and use a small
amount of Elmer’s glue to hold the Durablanket in place. That will
keep the glass in this section flat while the glass slumps into the
sections on either side. Allow plenty of time for the glue to dry
before using the Durablanket to slump.
Cut several
strips of glass in
a variety of widths
as well as several
stringers to 16"
in length.
Make sure the mold is covered completely to keep the glass
from sticking to the stainless steel. You can also use kiln wash if
you prefer, but you will still need the 1/8" fiber paper triangles at
each end to allow the mold to expand and contract around the glass.
Place the strips of glass in the mold, ensuring that the pattern is
the same all the way through. You don’t want one end of the pattern
bar to be different than the other end of the pattern bar. This is the
key to a great fractal.
Place the mold filled with glass in the kiln and fire to a full fuse
with a bubble squeeze. Bubbles in the pattern bar will be noticeable
when it’s sliced and may affect your fractal pattern.
Cut strips of Deep Red, White, and Deep Cobalt Blue glass in
widths 1/8" to 1" wide and 16" long. Cut several White and Deep
Red 2 mm stringers 16" long. Use the kitchen scale to weigh the
glass strips and stringers until you have about 30 ounces.
Use the
wet tile saw
to trim off the ends
of the pattern bar,
then slice the entire
bar into 1/8" slices.
The pattern bar is very thick, so don’t force it through the saw.
Cut slowly with plenty of water to avoid chipping. If you’re not
able to cut 1/8" slices, just cut them as consistently as possible. You
will need several, so the thinner the better.
While you are cutting, place the slices in a dish with water and
vinegar to keep the glass dust from drying on the slices. Clean all
the slices in soap and water and dry them thoroughly.
Cut the white opal and the clear transparent Tekta glass large
enough to fit your molds. For my serving tray molds, I cut one
white and one clear piece 6" x 12" plus one white and one clear
piece 10‑1/2" x 15".
Fill the mold
with glass and fuse.
Design the serving
trays and full-fuse.
Fold the Papyros kiln shelf paper lengthwise and trim it to the
length of the mold. Cut the 2" square of 1/8" shelf paper in half
from corner to corner to get 2 triangles. Place the triangles at each
end of the mold.
For the small dish, mark the center of the white glass. Place the
white glass on top of the clear glass. Arrange 8 slices into a fractal
in the middle of the dish.
For the large dish, mark the center of the white glass. Place the
white glass on top of the clear glass. Arrange the slices around the
edge of the larger tray, alternating the direction of the triangular
slices. By fusing the clear glass on the bottom and the white glass on
top, any small bubbles trapped between layers won’t be noticeable.
I did a full fuse according to the following schedule:
Segment 1: Ramp 350°F/hr to 1225°F and hold 30 min.
Segment 2: Ramp 9999 (AFAP)* to 1475°F and hold 15 min.
Segment 3: Ramp 9999 (AFAP)* to 900°F and hold 60 min.
Segment 4: Ramp 100°F/hr to 700°F and hold 1 min.
Segment 5: Cool to room temperature.
*as fast as possible
Use a drill
press and the 1/4"
Diamond Tech Core
Drill Bit to drill a hole
in the center of each
fused glass piece.
Measure and mark the center of each piece with a permanent
marker. If possible, place the glass in a plastic tray large enough to
fit the glass and fill with enough water to cover the glass. You can
also use clay to make a ring around the area to be drilled and fill the
area with water. Thoroughly clean and dry the glass.
Assemble the two-tiered serving tray. The hardware for this
serving tray has a third tier available if you would like to make it
taller and add a third dish. Now you can fill the serving trays with
your favorite mouthwatering goodies.
Slump the serving trays.
Use a small amount of the excess fiber blanket to fill the holes
that were drilled in the center of the fused glass pieces so they don’t
close during slumping.
Place the glass in the serving tray molds that have been covered
with the Universal Mold Coat and fire according to the slump schedule. Usually holes are drilled in the bottom of slumping molds to
allow the air to escape during slumping, but since I don’t want to
drill holes in these dishes I am using a very slow slump schedule to
avoid air being trapped under the glass and causing large bubbles.
Segment 1: Ramp 200°F/hr to 1200°F–1250°F and hold 5 min.
Segment 2: 9999 (AFAP)* to 900°F and hold 1 min. 30 sec.
Segment 3: 100°F/hr to 700°F and hold 1 min.
Segment 4: Cool to room temperature.
*as fast as possible
Susan McGarry has been passionate about glass since her first
class in 2005. Her fused glass
jewelry and artwork have been
exhibited in shops throughout the
United States and Ireland. Susan’s
first book, Fused Glass Jewelry, is available thru Amazon and
Delphi Glass, and she is working on her second, Fused Glass
Fractals, which focuses on the tips and tricks from her Fused
Glass Fractals class. In 2012 she also started her business
ARTiFILL, manufacturing molds and jewelry findings for artists and crafters.
Susan was born and raised in Southern California. Her
home and glass studio are now in the San Francisco Bay area.
She devotes all of her time to glass and shares her love of fused
glass fractals in her classes. Her books, molds, and jewelry
findings can be found on her website, or
at local retailers.
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
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The Hitching Post Country Store
Design and Fabrication by Alysa Phiel, Text and Photos by Jane McClarren
he country general store was a central hub for most rural communities of a bygone era. Before the invention of the automobile, they were essential to the farming communities for supplies and
a place to keep up with news from the area and around the world.
You can visit a little bit of history with the Hitching Post Country
Store, which highlights a variety of fusing techniques.
In this project, layered frit is used to create the background
and clouds. The detailed building is constructed using a geometric
cutting system and incorporates architectural detail to create an authentic porch. You can create your own liquid stringer to add details
to the shutters, stairs, and tire swing. Then build a tree trunk using
mosaic nippers. Finally, create the signs for products of yesteryear
with Delphi Creative Image Color Slides.
Creating the Fused Background
During this part of the project, you will be working with powdered frit, so it is essential that you work in a well-ventilated area
out of direct drafts to avoid the powdered glass from blowing. Also
wear a protective mask while working with glass powders and
frits. When you are ready to begin, place the 14" x 18" clear glass
horizontally on your covered work surface.
Apply the frit powders for the sky
with the flat-bottom sifter.
Hold the flat sifter over the upper portion of the clear fused
background glass and pour some of the Turquoise Blue powder
into the sifter. Move the sifter around to cover the upper 2/3 of the
clear glass with powder. This will be the sky. Add more powder as
necessary. Pour any extra powder from the sifter back into the jar.
Continue by sifting the Light Blue powder over the covered space
in long, gentle lines to create variations in the sky.
System 96®
Flat Glass
100SFS Clear for Fused Base, 14" x 18"
100SFS Clear for Store Base, 10" x 10" plus Scrap
200SF White for Building, Posts, and Flag, 12" x 8"
233-75SF Mariner Blue for Roof, Shutters, and Flag, 12" x 4"
280-72SF Pewter for Windows, Porch,
and Porch Footer, 12" x 5"
60-625-96 Dark Red/Red Opal for Door and Flag, 6" x 2"
Variety of Browns for Hitching Post, Tree, and Barrels, Scrap
Brown for Store Sign, 2" x 8"
Stringers & Noodles
Gray and/or Blue Transparent and Opal Stringers
for Roof Lines, 6–8
White Opal Stringers for Windows and Flag, 2
White Opal Noodles for Windows and Flag, 1
Black Opal Noodle for Flag Pole, 1
Fine Frit
Desired Green for Grass and Tree
Desired Colors for Wildflowers
Medium Frit
Desired Color Mix for Wildflowers
Desired Green for Tree
F3-2502-96 Red Opal for Apples in Barrels and on the Tree
F3-2264-96 Amazon Opal for Barrel Apples and Tree Design
Course Frit
F5-00-96 Clear
F1-2334-96 Turquoise Blue Opal
F1-132-96 Light Blue Opal
F1-200-96 White
F1-5384-96 Steel Blue
F1-070-96 Cloud Opal
F1-56-96 Black
Powder Mix of Leftover Colors from Previous Projects
Glassline Glass Paints
Black Gray Brown
Paint Liner Tips
Tools and Materials
Morton System Bullseye GlasTac Fusing Glue
Glass Cutter Elmer’s Clear School Glue Running Pliers
Grozing Pliers Pump-Style Hair Spray
Mosaic Nippers Liquid Stringer Medium or Clear Hair Gel
Protective Eyewear Flat-Bottom Sifter Clean Paint Brush
Narrow Cone-Bottom Sifter Tweezers Scissors
Paper for Work Surface Sharpie® Marker
1/8" Fiber Paper Kiln Paper
2 Sandwich Size Zippered Plastic Bags
2 Small Plastic Squeeze Bottles
Cotton Swabs Delphi Creative Images Color Slide
Small Container Index Card or Business Card
Paper Towels Clear Silicone or E6000 Glue
Protective Mask
Finally, create clouds by filling the sifter with White powder
and gently tap the sifter to get rounded, fluffy shapes on the upper
portion of the sky.
Using the
cone-shaped sifter,
add Steel Gray powder
along the bottom edges
of the clouds to create
The cone-shaped sifter allows the powder to be distributed in a
more concentrated space.
Fill the flat sifter with Powder
Mix or a blend of browns to cover
the lower 1/3 of the glass panel
for the ground.
The Powder Mix can be created by combining leftover powder
from previous projects. Next, sprinkle Green fine frit for the grass
and medium frit in bright colors over the ground to create wildflowers.
Carefully move
the panel to the kiln.
Do not use hair spray on the powder at this point, because it will
create spots. Fire the panel using the full-fuse program schedule at
the end of the tutorial, adjusting as needed for your own particular
Creating the Country Store
Using the Morton System, cut the following pieces:
• Building Pieces: two 1/2" x 10", eight 1/2" x 4‑1/4",
six 1/2" x 1", six 1/2" x 3/4"
• Upstairs: one 1/2" x 8‑1/2", six 1/2" x 3‑1/4"
• Posts: two 1/2" x 6-1/4"
Mariner Blue
• Roof: one 2‑1/2" x 12"
• Windows: four 1‑1/4" x 1‑1/2", two 1" x 1‑1/2"
• Porch: two 1/4" x 11", two 1/2" x 12"
• Porch Footer: one 1/2" x 12"
• Stairs: one 1/2" x 3‑1/4", one 1/2" x 3‑3/4"
Dark Red/Red Opal
• Door: one 3" x 1‑1/2"
Place the 10" x 10" Clear glass on a clean surface at your workspace. This will be used to build the store.
Note: This project was started with Spirit Sedona glass (placed
face down) for the porch and a strip (face up) for the porch footer.
It was later replaced using different glass and cuts. The instructions
reflect the finished project. A Fusers Reserve glass was used for the
porch and stairs, but the same effects can be achieved using any
Gray System 96 glass and Gray or White Paint.
Cut each strip
of 1/2" x 12" Pewter
into 3 or 4 pieces in
varying lengths to
create planks for
the porch.
Arrange the pieces for the first plank 1/2" from the bottom of
the clear panel. (It will hang over the edges.) Lay out the planks for
the second row above the first row. Arrange the planks so that they
start and end in different places.
Repeat with each of the 1/4" x 11" pieces of Pewter. When you
are happy with the placement, glue the pieces into place with 1 to
3 drops of Elmer’s Glue. Center the Red glass door above the top
of the porch. The photo reflects the porch plank details after fusing
plus applying powder and Glassline paint.
Arrange one 1/2" x 4‑1/4" White
piece on either side of the door.
The first piece should be flush against the top of the porch.
Slightly overlap another piece of the same size above the first row
of White. Overlap three 1/2" x 1" pieces of White on either side
of the door.
Arrange two 1‑1/4" x 1‑1/2" pieces of Pewter next to each other
on the other side of the White clapboards to create the windows.
Be sure to build sections of clapboard starting at the bottom and
overlapping each piece above it so the pattern remains the same.
Overlap three
1/2" x 3/4" pieces of
White on the other
side of windows.
When you feel comfortable with the arrangement of all of
these pieces, glue each into place using Elmer’s Glue. Glue one
1/2" x 4‑1/4" piece of White glass above each window. This piece
fits next to the door.
Overlap and glue the remaining White glass of the same size
above it. Overlap and glue one 1/2" x 10" above the other clapboards and the door. Overlap and glue the remaining 1/2" x 10"
piece above it.
Using a Sharpie, mark 1" from each side of the 12" length of
Mariner Blue glass. Make a cut from the bottom of the glass on an
angle to the 1" mark on each edge. This is your roof line. Break
the glass using the running pliers. Clean off any excess Sharpie
marker, if necessary. Place a drop of Elmer’s Glue on each corner
of the underneath side of the Mariner Blue glass. Center the roof,
overlapping the top clapboard.
Center two 1" x 1‑1/2" pieces of Pewter glass next to each other
above the roof. Overlap three 1/2" x 3‑1/4" pieces of White glass
on either side of the window. Overlap the 1/2" x 8‑1/2" piece of
White over the top. Once you are happy with the arrangement, glue
the pieces into place. Glue the 1/2" x 12" piece of Pewter onto the
bottom of the Clear base in the open space.
Break the White
noodle into three
1‑1/2" lengths.
Glue one length down the center of each pair of windows. Break
the White stringers into twelve 1‑1/2" lengths. Glue them into place
to create the window panes.
Randomly alternate transparent and opal Blue and Gray stringers and break into pieces to create a corrugated metal roof. Using
a variety of stringer colors and lengths makes the roof look as if it
is reflecting the sunlight. Glue the stringer pieces into place using
1 drop of Elmer’s Glue.
Fire the panel using the full-fuse program schedule at the end
of the tutorial with a maximum temperature of 1410ºF, adjusting
as needed for your own particular kiln.
Making Liquid Stringer
Mix equal parts of Powder Mix (or Brown Powder) and liquid
stinger medium or clear hair gel inside the zippered plastic bag. You
will need enough to add to the tree and porch. Squeeze any air out
of the bag and close. Massage the bag to evenly distribute the color.
Once combined, cut the bottom corner off of the bag and squeeze
the contents into an empty plastic squeeze bottle. Screw the top on
the bottle and cover with the cap. Tap the bottle upside down on
the table to remove any air and get the liquid stringer to the top of
the bottle. Repeat the process by making a small amount of Black
liquid stringer for the tire swing.
Determine where you want to place the country store on the
background panel. You may choose to reverse the tree and the flag
and thus need to place the store on the opposite side of the panel.
Creating the Tree
Using the
mosaic nippers, nip
pieces of different
shades of scrap Brown
glass and build a tree
trunk and branches by
arranging the
overlapping pieces.
Continue to add pieces to fill in the tree shape. Glue the pieces
into place using GlasTac glue.
Use the Brown
liquid stringer to fill
in spaces between the
pieces of glass scraps
to add dimension and
bark texture to the tree
trunk and branches.
Add smaller, thinner branch extensions onto the glass panel
using the liquid stringer.
Pour Green
fine frit into the jar
cap and sprinkle it
over the tree branches
to shape the tree.
Next, pour Green medium frit into the jar cap and sprinkle it over
the fine frit in different areas to create texture and dimension. Then
using your fingers, sprinkle Amazon Green frit in various areas of
the tree. Sprinkle random pieces of Red Opal medium frit to create
apples on the tree. Cover with some Clear course frit. This will help
push the greens back and create more depth.
Use a clean
paint brush to
clear any excess frit
from the panel and
kiln paper and to
shape the tree, then
spray with hair spray.
Based on the overall size and shape of the tree, you may decide
that you need to reposition the country store. You will be creating
the tree in more than one stage by adding detail with an additional
firing, so don’t be too concerned about the final look of the tree at
this stage.
Cut one 1/2" x 3‑1/4" and one 1/2" x 3‑1/2" piece of Clear
glass. Place 2 drops of Elmer’s Glue on the 3‑1/4" piece and place
it centered at the base of the porch footer. Place 2 drops of glue on
the remaining piece and center it beneath the first piece of clear.
Glue the Pewter stair pieces of the same sizes over the clear glass.
This will build up the stairs and bring them forward.
Add Green fine
frit, then Green
medium and Amazon
medium frit to add
grass and dimension
to the piece.
Add Green fine frit along the bottom of the tree trunk to soften
the tree base. Continue sprinkling in areas along the bottom of the
panel to create grass in the dirt. Gently sprinkle Green medium and
Amazon medium frit to add more dimension to the grassy areas.
Using your fingers, sprinkle small amounts of the Wildflower fine
frit mix in the colors you have chosen to create different wildflowers in the grass.
Sprinkle some
Clear course frit
over the newly
covered areas to
create dimension.
Place the
1/2" x 6‑1/4"
White glass pieces
along the edge of the
porch between the
bottom of the roof
and the top of the
porch footer.
Using the
Brown liquid
stringer, create a
line between the
bottom of the porch
planks and the
porch footer.
Trim, if necessary, and glue in place with 2 drops of Elmer’s
This will cover any gaps between the fused glass pieces and will
also define the angle of the porch.
Using the
Black liquid stringer,
draw a tire swing on
the glass panel beneath
the tree branches.
Add the details to the clapboards.
Sprinkle Cloud Opal powder
along the lines of the clapboards.
Use a clean paint brush to push
the powder upward into the ridges
under the clapboards to create
shadows. Continue dragging the
powder to the upper level as well.
Brush any excess powder off of
the windows, door, roof, and edges
of the panels onto a piece of scrap
paper. Apply hair spray to the
powder on the clapboards as well
as the grass and wildflowers.
The Powder Mix is created by collecting excess powder from
different stages of a project into one jar. To do so, gently fold the
scrap paper containing the powder in half to create a slide for the
frit and pour the excess frit into your Powder Mix jar.
If desired, add a half circle–
shaped piece of Clear scrap glass
to the edge of the panel to extend
the shape and size of the tree
beyond the panel.
You can do this once you have moved the panel to the kiln. Be
sure the area beneath the clear scrap is free of frit before placement.
Add the frit as in previous steps to fill in the tree extension.
You can also add Clear scrap to the lower part of the left and
right sides of the panel to extend the grass and flowers. Add in frit
as desired.
Fire the panel using the full-fuse program schedule at the end
of the tutorial with a maximum temperature of 1410°F, adjusting
as needed for your own particular kiln.
NOTE: After this firing, we decided to curve the top corners of
the panel to create an overall softer shape. Using a Sharpie marker,
the curve was marked and the glass was cut off using a band saw.
Adding the Finishing Touches
Use the Morton System to cut the following pieces:
Mariner Blue
• Shutters: six 1‑3/4" x 1/2"
• Hitching Post: one 1/2" x 5" and two 1/2" x 1‑1/4"
Dark Red/Red Opal
•Flag: one 1‑1/2" x 2‑1/2"
2 to 3 wider horizontal bands from edge to edge, and a thick line
along the bottom. Highlight the Black bands with some Gray paint.
Determine the placement of the barrels and glue them into place
using Elmer’s Glue. Use tweezers to choose round pieces of Dark
Red/Red Opal and Amazon Opal medium frit to add apples to the
barrels. Add a small amount of Green fine frit for leaves. We also
used some Orange medium frit to create oranges in one barrel.
Drizzle the frit with GlasTac glue.
Final Details and Firing
Assemble the flag.
We created our flag from a red
and white glass raking, choosing
the section that resembled flag
stripes, then cutting the rectangle
with a band saw.
Break the remaining portion
of White noodle into three to four
2‑1/2" pieces. Glue the noodles
onto the rectangle of red glass with
Elmer’s Glue to create the stripes
in the flag. Cut a 3/4" x 3/4" square
from the Mariner Blue scrap glass
and glue it onto the top left corner of the flag.
Add dots to the Mariner Blue square with the Gray paint to create
the stars. Determine the placement of the flag and break the Black
noodle to an appropriate length for the flagpole, then glue it to the
porch post. Glue the flag along the top part of the Black noodle,
partially overlapping the edge of the panel. Cut 2 or 3 pieces of fiber
paper with the scissors and place them vertically under the flag to
create waves during fusing.
Add the details
for the shutters.
• For the Porch: Blend approximately 1/2 teaspoon each of
Steel Blue powder and the Powder Mix in a frit jar cap. Use
a clean paint brush to fill in any horizontal and vertical gaps
between the planks. Brush any excess powder off of the panel
and onto scrap paper, then pour it into the Powder Mix jar. It
is okay if the porch isn’t totally clean of powder, since it will
look like shadows and dirt. Add a tiny drop of Black paint
to all 4 corners of each plank on the porch to look like nails.
• For Tire Swing: Draw a rope from the branch to the tire swing
with the Brown paint and allow it to dry. Draw thin diagonal lines
on the rope using the Gray paint. Add a small amount of Gray
paint to one inside edge of the tire and soften with a cotton swab.
• For the Tree and Landscape: Add more detail to the tree trunk
with the Brown paint. If desired, fill in the tree, ground, and
wildflowers with additional frit. Apply hair spray to the frit to
keep it in place.
Full-Fuse Firing Schedule
Fire the panel using the following full-fuse program schedule
with a maximum temperature of 1410oF, adjusting as needed for
your own particular kiln.
Segment 1: Ramp 100°F/hr to 300°F and hold 15 min.
Segment 2: Ramp 150°F/hr to 1050°F and hold 10 min.
Segment 3: Ramp 250°F/hr to 1410°F and hold 1 min.
Segment 4: Ramp AFAP* to 950°F and hold 90 min.
Segment 5: Ramp 100°F/hr to 800°F and hold 10 min.
Segment 6: Ramp 300°F/hr to 100°F and no hold.
*as fast as possible
Add 10 horizontal lines to each shutter with the Gray paint. Once
the paint is dry, glue the shutters in place on either side of each pair
of windows with Elmer’s Glue. You can use the tip of a pencil to
clean up the lines if they are uneven.
For the hitching post, determine its placement, then place the
post legs under the 5" length. Glue in place using Elmer’s Glue.
With the Black paint, draw a large X above each leg and allow the
paint to dry. Add curvy lines on the post and legs with Brown paint
and soften them gently by smearing them with a cotton swab. Add
additional wood grain texture using the Gray paint.
Next, cut 3 barrels from brown scrap. The sizes of the barrels
should vary in size from approximately 1" to 1‑1/2" high by 3/4"
wide. Use the glass cutter to create a curve at the top and on the
bottom corners and break off the pieces using grozing pliers.
Draw several thin vertical lines from top to bottom of the barrels with the Gray paint. Using the Black paint, draw the top rim,
Creating the Sign Decals
We searched the Internet for images of vintage signs and
formatted them to print in a photo program in contact sheet
size (35 to a sheet). This way we were able to print small,
detailed versions of each sign.
• If you have an inkjet printer, print the images on one
sheet of paper. You could also have a color laser copy
made on Delphi Creative Images Color Slide at your local office supply store. If you have a reduction feature
on your printer/copier, determine if the images need
to be reduced in size to fit on the store front. If you do
not have a reduction feature, you will need to make
these adjustments on a copier at the office supply store.
• Determine the name of your country store, select a font
you like that will size correctly, and create a store sign
on your printer. You will want the store name to fit on a
2" x 8" area. Print the store sign onto a piece of paper.
• Once you have a color copy of your store signs in the
appropriate size, you will need to have them printed
on the shiny side of the Delphi Creative Images Color
Slide with a Color Laser printer. You will also need
a copy of your country store sign on the Color Slide.
• Cut out the country store sign and the images for the product signs, then determine their arrangement on the store
front. Once you have selected the signs, you will need a
scrap piece of glass for each sign. The glass does not need to
be System 96, since we will not be fusing the signs. White,
off-white, or light beige glass colors will work the best.
Cut the appropriate size piece of glass for each sign decal.
If necessary, grind off or use emery board on any sharp
edges on the glass. Clean off the glass with a paper towel.
• Soak the product signs in a water-filled container for
2 minutes. Hold down the edge of the decal along the
edge of the appropriate piece of glass and pull out
the paper. The decal will be floating on the glass, so
you can reposition it if necessary. If the decal gets
stuck in an incorrect position, do not tug on the decal. Return it to the water instead to allow it to separate.
• Use a business card or index card to carefully “squeegee” the
excess water out from behind the decal and blot it dry with
a paper towel. Repeat for the other product signs. Place the
country store sign decal in the water and allow it to soak for
2 minutes. Apply this decal to the 2" x 8" piece of Brown
glass. Allow all of the pieces of glass to dry completely.
• Bake the decals in a household oven, following the manu
facturer’s instructions on the package. Open a window
and/or run a fan when baking, as there may be an odor
emitted from the oven. Allow to cool. Finally, apply the
signs to your store using E6000 glue or clear silicone.
Armour Products
Innovator of creative glass etching products...
Serving the Craft Industry for over 30 years!
176 -180 Fifth Avenue, Hawthorne, NJ 07506
Phone: 973-427-8787 Fax: 973-427-8823
Alysa Phiel is a third-generation glass
artist and has over twenty years of experience creating in glass, teaching classes,
and creating custom work for private collections. In 2009, she joined the staff of
the Sonoran Glass School in Tucson, Arizona, as a teacher
of fusing, mosaic, and stained glass classes.
Alysa’s creativity knows no limits, ranging from intricate
stained glass projects to Southwestern and ocean-themed
mosaics and fused pieces. Her range of knowledge makes her
a fantastic instructor for students looking to create any type
of glass art in Sonoran’s Warm Glass Shop.
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
Design by Christie Wood, Text by Darlene Welch
eometric designs have been used throughout the centuries by countless cultures to decorate homes as well
as public venues. With their endless variety of shapes and
color combinations, they provide a great way to match just
about any decor. This 23" x 8" design from Christie Wood
is included in the CD, American Jewels, a collection of 60
patterns that reinterpret the classic look of American stained
glass windows from the 1850s through around 1930.
This collection emphasizes geometric patterns that feature
the clean, straight lines of the Art Deco movement; stylized
interpretations of roses, bells, ribbons, and fans; and the inclusion of brilliant jewels and bevels. American Jewels also
includes a special section of truly lavish designs for use as
centerpieces in grand mansions, hotels, and residential windows. The pattern CD is available from Dragonfly Software.
Wissmach Glass Co.
WO-7 Gold Pink/Opal/Crystal for Outer
and Inner Borders, 2 Sq. Ft.
145-LL Dark Amber/Opal/Crystal for Zigzag Figure
and Small Curved Triangles, 1 Sq. Ft.
WO-14 Gold Pink/Silver/Opal/Crystal
for Inner Background, 1 Sq. Ft.
78-L Medium Amber/Green/Opal/Crystal
for Curved Figures, 1 Sq. Ft.
Ripple-01 Clear for Inner Borders, 1 Sq. Ft.
Tools and Materials
7/32" Copper Foil Flux Solder
Black Patina Amber Beveled Jewels
1/4" Zinc U-Channel
© Copyright 2014 by Glass Patterns Quarterly.
All rights reserved.
What’s New
Wissmach Glass Company announces its new online fusing catalog
that includes 17 new Wissmach 96 colors. All of the Wissmach 90 and
96 glass can also be included with the company’s new Luminescent™
coating. Artists may want to bookmark the new catalog, since it will be
updated periodically.
304‑337‑2253 [email protected]
Glass Craft & Bead Expo concluded its 20th annual show on
March 30, 2014, at the South Point Hotel Casino in Las Vegas, Nevada.
Over 250 classes were taken by 900 students who hailed from 48 states
and 7 Canadian provinces. Students and attendees also came from as
far away as Australia, Chile, China, Israel, Japan, Mexico, Guatemala,
Sweden, Russia, and the UK. The tradeshow had over 100 exhibiting
companies, with a three-day attendance of over 7,800 viewing the latest in glass technology,
equipment, and techniques. Many artists were also selling their work to the public. The 2015
Glass Craft & Bead Expo will be held once again at South Point, with classes scheduled for
April 8–12 and the tradeshow for April 10–12.
800‑217‑4527 702‑734‑0070
Master Artisan Products presents Steel Sconce Molds. These
molds are made from heavy-duty stainless steel to withstand
multiple firings and are available in three sizes: 9"x 12",
12" x 18", and 12" x 24". Check the company’s website for more
details on this and many other great resources available from
Master Artisan Products.
250‑382‑9554 [email protected]
Diamond Tech makes it easy to create handmade garden art and learn
to mosaic at the same time with six new Garden Project Kits. Each kit
includes a reusable mold, white outdoor cement, glass or tile, a pattern
assortment, instructions, and other accessories that are appropriate to each kit. Glass enthusiasts can transcend department
store merchandise and create their own idea of style. Create an
environment filled with mosaic character, comfort, and fun by
trying the Planter, Songbird, or Patriotic Stepping-Stone Kits.
Also try any of Diamond Tech’s new Create ‘n’ Learn Kits that include Starry Nights,
Bug-a-Boo, and Sundial.
800‑937‑9593 813‑806‑9593
Unique Glass Colors has added a new fusing tutorial to its lineup of
available glass technique tutorials. Ocean Currents, #118, uses Artisan
Colors, Black MUD, and Accents, plus custom-created frits that use
Accents Crystal Ice and White MUD to create this “unique” piece.
Visit the company’s website for more technique tutorials.
407‑261‑0900 [email protected]
Uroboros Glass presents its glass colors for spring, including Peacock
Green Opal Frit, a deep blue-green that adds a stunning new dimension
to the System 96® Opal palette. It’s available in all five grain sizes and
three package sizes. Also part of the company’s collection is Spring
Collage sheet glass, with each sheet having a one-of-a-kind collage of
fractures and streamers in spring greens and blossom pinks with lacy
white veils. To complete the spring palette, Gold-Pink Striker sheet glass is a true pink
that’s perfect for spring apple or cherry blossoms.
KWC, LLC Table Foiler has a new website that will have a listing
for all active dealers, as well as links to YouTube videos that explain
how the tool is used. Check out this new and informative website.
AAE Glass now has a new line of decals created by
artist Tanya Veit. These High-Fire Decals fire between
1300ºF and 1425ºF and can be used while fire-polishing
or slumping at the same time. Two color decals are black
with metallic high-fire gold or silver lining. Ventilation is
key to a perfect gold or silver finish.
Franklin Art Glass is pleased to announce a celebration of nine decades
in the stained glass industry. As part of the ninety-year celebration,
Franklin Art Glass will be running monthly e-mail blowout specials
throughout 2014. Visit the company’s website to learn more about these
deals and click on the “Join our mailing list” button to sign up.
Lisa Vogt’s Fused Vessel Sink
4-Day Workshop
“Class was amazingly full of useful information. Lisa is a fabulous instructor, very organized and attentive.” September 16‐19 Wesley Chapel, Florida. All skill levels.
Register online. Space is limited.
Brand New High-Fire
Glass Fusing
Accents from
AAE Glass
AAE Glass, known for providing the highest-quality low-fire glass fusing
decals, has raised the bar—and
the temperature—even higher with over
60 new High-Fire Fusing Decal Designs created by Tanya Veit, AAE
resident artist extraordinaire. • Designs inspired by images
requested most often from AAE customers
• Available individually with gold or silver metallic outlines in base colors
of black or white
• Permanent after firing and will not rub or flake off.
Visit for more unique glass fusing products as well as a
list of classes being offered by Tanya Veit.
AAE Glass Art Studio 1228 Lafayette St. Cape Coral, Florida 33904
Every color tells a story.
The right color sets the
mood and conveys
texture, flavor and
emotion. To tell your
story, create a unique
blend from 150 colors and
five sizes of Uroboros frit
including chunky Mosaic
— only at Uroboros!
1 Glass Impressions now has a twelve-piece drilling set with
a powerful suction cup guide to prevent drifting. Included are
diamond-coated core drill bits in 3/16", 1/4", 5/16", 3/8", 1/2",
and 3/4" sizes. These core drills can be used with a handheld
drill and come with a compact case. The set is ideal for drilling
non-tempered glass, mirror, ceramics, porcelain, marble, granite,
and limestone.
Mary Van Cline, 5’ wide, frit castings
Screen It On presents the complete kit for
screen printing on glass. This new product,
which debuted at the 2014 Glass Craft & Bead
Expo, provides a new way for glass artists to
create their own designs on glass. Everything
needed to complete several projects with a faster,
easier way of detailing work is included to let
artists go from artwork to a finished print in less
than eight minutes. All of the screens are handmade with the company’s special light sensitive emulsion, are coated on both sides for better coverage, and can be printed on either
side for a reverse image. The screens are also light in color to give a nice transparency for
an accurate lineup. Each screen will yield 30 to 40 prints depending on the surface texture
being printed on. Custom screen size orders are always welcome. Visit the company’s
website for more information.
[email protected]
Make your next story a memorable one
with Fusion FX® 90 or System 96®,
available now from suppliers worldwide.
McMow Art Glass Studio congratulates the 15th Annual “Glass
As Art” contest winners. Each year the studio celebrates “Glass As
Art” month by encouraging glass enthusiasts to submit their work to
this annual contest. Entries can be submitted for six categories, and
winners are awarded glass arts–related prizes in each category. Visit
McMow’s website to view all of the winning pieces and to learn more about the studio’s
beautiful glass art.
Anything in Stained Glass, your total discount supplier, has
everything that the glass enthusiast needs to be successful
creating in glass from the beginner to the advanced artist.
This family owned and operated business has been providing friendly service and expert
advice since 1979 with no gimmicks, just great prices. The company has over 9,000 square
feet of showroom space filled with hundreds of great products and economical shipping.
Visit the website for more details.
Aanraku Glass Studios is now offering new fan stands that provide a great way to light up your favorite small glass panels. The
stands come in two styles—WBO, a 4" wide x 4" deep x 1‑1/4"
hexagonal stand, and WBR, a 7‑1/2" wide x 3‑1/2" deep x 1‑1/4"
rectangular stand. The stands come with electrical cords, sockets,
and an in-line switch.
Send your What’s New information to
Due date for Fall 2014
June 20, 2014
Glass Patterns Quarterly
8300 Hidden Valley Road,
P.O. Box 69, Westport, KY 40077
[email protected]
The Stained Glass Shop
Art Glass by Sonya
Legacy Glass Art
865 E Semoran Blvd
6232 W Bell Rd Ste 101
Casselberry, FL 32707
Glendale, AZ 85308
Tumbleweed Stained Glass
Glassic Arts Stained Glass
320 S Spring Garden Ave Ste E
2636 W Baseline Rd
Deland, FL 32720
Mesa, AZ 85202
Kachina Stained Glass
1762 S Greenfield Rd
Mesa, AZ 85206
Arrowhead-Camur Stained Glass
1160 E Highland Ave
San Bernardino, CA 92404
The Dragons Cache
1109 7th St
Greeley, CO 80631
Art Glass and Stamp Studio
2320 E Edgewood Dr
Lakeland, FL 33803
Suevel Studios
870 S Arthur Ave
Arlington Heights, IL 60005
McMow Art Glass
Belleville, IL 62221
701 N Dixie Hwy
Lake Worth, FL 33460
1600 East A St
O’Reilly’s Stained Glass
58 N William St
Art Glass Design Studio
1329 S 14th St
Leesburg, FL 34748
D & L Stained Glass Inc
2625 N Harbor City Blvd (US 1)
Melbourne, FL 32935
The Stained Glass Apple
Jennifer’s Glass Works LLC
Art Glass Studio of Belleville
Stamford, CT 06906
Boise, ID 83702
496 Glen Brook Rd
1407 Jefferson St
4875 S Atlanta Rd
Smyrna, GA 33080
Arranged Alphabetically by State, then City
Stained Glass Supply Shops
Downtown Crystal Lake, IL 60014
Victorian House
408 E Main St
Mahomet, IL 61853
The OP Shop
Kokomo Opalescent Glass Co
1310 S Market St
Kokomo, IN 46902
Stained Glass Supply Shops
Rayer’s Bearden
Timeless Tiffany
Straits Area Glass Co
Stained Glass Supply
1769 W Pulaski Hwy
Elkton, MD 21921
6205 W Kellogg Dr
Wichita, KS 67209
Anything in Stained Glass
5104 Pegasus Ct Ste F
Frederick, MD 21704-8323
Carousel Stained Glass
1602 Eastwood
Slidell, LA 70458
Glass by Grammy
Email: [email protected]
Arranged Alphabetically by State, then City
Inspirational Stained Glass
122 Roxanne Dr
Youngsville, LA 70592
Prism Works
555 Portland Rd
Bridgton, ME 04009
Phoenix Studio
630 Forest Ave
Portland, ME 04101
4733 Snow Hill Rd
Salisbury, MD 21804
Great Woods Glass Art
259 Mansfield Ave
Norton, MA 02766-0476
The Stained Glass Emporium
69 Fall River Ave Rt 6
Rehobeth, MA 02769
[email protected]
Our Glass Studio
Treehouse Glass Studio
140 Worcester Providence Turnpike Rt 146
12 Murch Rd
Sutton, MA 01590
Sebago, ME 04029
10994 N Straits Hwy
Cheboygan, MI 49721
Delphi Creativity Center
3380 E Jolly Rd
Lansing, MI 48910
Free color catalog
150+ classes - see schedule online
Lansing Art Glass
2320 E Michigan Ave
Lansing, MI 48912
Stallings Stained Glass
8011 Miller Rd
Swartz Creek, MI 48473
Linden Art Glass
37655 Ford Road
Westland, MI 48185
Flamingo Glass
205 W Lincoln Ave
Fergus Falls, MN 56537
Glass Endeavors
2716 E 31st St
Minneapolis, MN 55406
Michael’s Stained Glass Studio
Tobiason Studio
302 S 8 St
St Joseph, MO 64501
St Cloud, MN 56301
800-250-2330 (MN only)
J Ring Glass Studio Inc
2408 Territorial Rd
Glass Art Studio Inc
4310 Cameron St #3
St Paul, MN 55114
Las Vegas, NV 89103
Sleepy Eye Stained Glass
135 Main St E
Sleepy Eye, MN 56085
Classes, Extensive selection of glass, sup-
318 S Main St
St Charles, MO 63301
Email: [email protected]
Blue Moon Glassworks
Leaded Glass Design
Busy Beaver Arts & Crafts
Knoxville, TN 37917
108 W 43rd St
Beavercreek, OH 45432
Lees Summit, MO 64081
1328 Buchanan Ave
3445 Dayton-Xenia Rd
236 NW Oldham Pkwy
Chepachet, RI 02814
1755 State Rd
Cuyahoga Falls, OH 44223
Austin, TX 78751
Merry Go Round
Stained Glass Center
3021 Lackland Rd
Fort Worth, TX 76116
Glass Creations
A Statement in Glass Inc
Miamitown, OH 45041
LaPorte, TX 77571
6786 State Route 128
301 W Main St
Arranged Alphabetically by State, then City
Stained Glass Station
The Glass Workbench
Fountain City Stained Glass LLC
Holidaze Stained Glass
Burlington, NC 27215
Calabash, NC 28467
947 Carter Dr
The Glass Angel
Hattiesburg, MS 39401
104 S 10th Ave
Portland, OR 97223
Full line of supplies and classes
Seraphim Studios LLC
10105 SW Hall Blvd
712 Putnam Pike Route 44
Roses Glassworks Art Glass School
224 E Front St
Stained Glass Supply Shops
720 Osseo Ave S
plies, and fusing
Stained Glass Supply Shops
913 W Loop 281 Suite 122
Longview, TX 75604
234 A Marina Ct
#105 - 1674 Hyde Park Rd
Stained Glass Crafters Workbench
7515 Eckhert Rd
San Antonio, TX 78240
Alphabetically arranged by
Orangeville, ON Canada L9W 1K2
Cranberry Stained Glass
Stained Glass Stuff
Richmond, VA 23228
Halifax, NS Canada B3S 1A9
Vantage Point 3 Unit E
902-876-5167 / 866-377-5167
Stafford, VA 22554
Huronia Art Glass
680 Bay View Dr Unit 3
Barrie, ON Canada L4N 9A6
Loon’s Call Studio
Glass Expressions
5 Pinehill Dr RR#4
Burien, WA 98166
648 SW 152nd
Brantford, ON Canada N3T 5L7
The Glass Garden LLC
25 W Milwaukee St
Janesville, WI 53548
159 Broadway
province, city, then store name
2805 Hungary Rd
2163 Jefferson Davis Hwy #103
519-641-0443 / 877-386-1116
110 Chain Lake Dr
Bluebird Stained Glass Studio
London, ON Canada N6H 5L7
Laurel Gallery
Arranged Alphabetically by State, then City
Artistry in Glass
Waterford, WI 53185
903-234-0201 / 903-758-7713
Hearts Desire Stained Glass and Beads
911 Richmond Rd
Ottawa, ON Canada K2A 0G8
888-249-9421 / 613-722-8702
Canadian Stained Glass Warehouse
1017 3rd Ave
Quebec City, QC Canada G1L 2X3
Fired-Up Glass Arts
25 Wellington St
Delaware, ON Canada NOL 1EO
Bullseye Glass Resource Center
The Vinery
Madison, WI 53714
Grand Valley, ON Canada
1422 MacArthur Rd
31 Main St
Glass Garden Inc
Advertise Your Shop In
GPQ’s Stained Glass
Supply Shop Directory
Our retail directory is an affordable
means of advertising your storefront
to potential new customers. You can
advertise your store hours, special
events, new classes, and website.
Join others who have gifted their
favorite instructor and storefront by
purchasing a directory listing. In
doing so, you can help secure their
business success. Contact us to find
out how your store can be included.
Call 1-800-719-0769.
Statement of Ownership
(Required by 39 USC 3685)
1. Glass Patterns Quarterly 2. Publication
Number 1041-6684 3 Filing Date: 5-1-2014, 4.
Quarterly 5. 4 issues 6. 1 yr. $24, 2yr. $43, 3yr.
$61, 7. 8300 Hidden Valley Road, Westport KY
40077, 8. 8300 Hidden Valley Rd., Westport KY
40077 9. (Publisher) Steven V. James, 8300 Hidden Valley Road, Westport KY 40077, (Editor &
Managing Editor) Maureen James, 8300 Hidden
Valley Road, Westport KY 40077, 10. Steven
and Maureen James, 8300 Hidden Valley Road,
Westport, KY 40077 11. None 12. N/A, 13. Glass
Patterns Quarterly, 14. Summer 2013, Fall 2013,
Winter 2013, Spring 2014, 15. Extent and Nature
of Circulation: Average Number of Copies Each
Issue During Preceding 12 Months: 15A. Total
no. of copies (net press run) 17075 15B(1): 11434
15B(2): 0 15B(3): 2139 15B(4): 0 15C: 13573
15D(1): 0 15D(2): 0 15D(3): 4 15D(4): 134 15E:
138 15F: 13711 15G: 3364 15H: 17075 15I: 99%
15. Extent and nature of Circulation: Actual no. of
copies of single issue published nearest filing date:
15A: Total no. of copies (net press run): 16300
15B(1): 10685 15B(2): 0 15B(3): 2044 15B(4): 0
15C: 12729 15D(1): 0 15D(2): 0 15D(3): 1 15D(4):
152 15E: 153 15F: 12882 15G: 3418 15H: 16300
15I: 99% 16. Publication of Statement of Ownership is required and will be printed in the Summer
2014 issue of this publication. 17. I certify that
all information furnished on this form is true and
complete. I understand that anyone who furnishes
false or misleading information on this form or
who omits material or information requested on the
form may be subject to criminal sanctions (including fines and imprisonment) and or civil sanctions
(including multiple damage and civil penalties),
signed Maureen James, Publisher, Date: 5-1-2014.
Fused Fantasies
Lead Shears™
Stays Black™
Patina for Zinc
for Lead Came Artists
Books now available from
Glass Patterns Quarterly
No more uneven colors
when you patina zinc
channel with solder or lead
ALS-V - No tools needed to change blade
Available in 4 oz., 8 oz., 16 oz.
and studio size 32 oz. bottles
Both products available exclusively from 1Glass Impressions
(920) 382-1807
fusing instructions!
✓ it out!
Glass Expert Webinars™
for 2014
Live, Two-Hour,
Interactive Web Workshops
with Renowned Glass Artists
No Traveling Required!
David Alcala
June 17 and 19
Tanya Veit
June 24 and 26
Barbara Becker Simon
July 8 and 10
Randy Wardell
July 22
Cathy Claycomb
July 24
Contact Info
1 Glass Impressions (920) 382-1807 77
AAE Glass 71
Aanraku (650) 372-0527 9
Anything in Stained Glass (800) 462-1209 25
Armour Products (973) 427-8787 www. 68
Austin Thin Films, Inc. (800) 268-6163 57
B&B Etching Products, Inc. (623) 933-4567 29
Cress Manufacturing (800) 423-4584 79
D & L Art Glass Supply (800) 525-0940 29
Diamond Tech (800) 937-9593 15
Edco Supply Corporation (866) 397-4777 [email protected] 25
Evenheat Kiln, Inc. (989) 856-2281 77
Firelite Forms (888) 800-3901 61
Flight Into Fantasy Ask Your Local Supplier
Franklin Art Glass (800) 848-7683 25
Fused Fantasies (800) 719-0769 77
Fusion Headquarters (503) 538-5281 53
Glass Accessories International www.glassaccessories.com11
Glass Expert Webinars™ (800) 719-0769 78
Glass Patterns Quarterly (800) 719-0769 31
Glastar (800) 423-5635 21
Gryphon Corporation (818) 890-7770 29
H. L. Worden Co. (800) 541-1103 11
Hakko USA www.HakkoUSA.com5
Handy Hanger Peter McGrain
Master Artist Lecture
Series #1 July 29
Inland (248) 583-7150 11
Jubilee Creative (877) 845-6300 77
KWC, LLC Table Foiler (800) 250-1790 Lisa Vogt 8
Master Artisan Products (250) 382-9554 23
July 31
McMow Art Glass, Inc. (561) 585-9011 Tony Glander
August 19
Paragon Industries (800) 876-4328
Premium Glass Products, Inc. (800) 752-3501 17
Kent Lauer
August 21
Screen It On 31
Morton Glass Works (800) 635-2113
Olympic Kilns (800) 241-4400 57
Paned Expressions Studios (410) 676-1248 61/70
Paul Wissmach Glass Co., Inc. (304) 337-2253 80
Skutt Kilns (503) 774-6000 Visit the Glass Expert Webinars™
link under “What’s New” at
for more details and local times.
Advertisers’ Index
Spectrum Glass Company (425) 483-6699 49
Sunshine Glassworks, Ltd. (800) 828-7159
Timeless Tiffany Inc. (410) 287-3900 www.stainedglasssuppliesonsale.com17
Unique Glass Colors (407) 261-0900
Uroboros Glass Studios (503) 284-4900
Vinery, The (608) 271-2490 61
Whittemore-Durgin (800) 262-1790
By: Cress Manufacturing
Professionals and hobbyists alike are
enthusiastic about the ease and safety
of manipulating hot glass in the new
GK Series Drop Bottom Kilns
imal heat los
loss and
nd fast
fast tempe
pe ure recovery for virtually
ually any firi
i project
Low-Fire Ceramics
Max Temp
Chamber Opening
Outside Dimensions
8”x8”x6.75” H
15.5”x14.5”x17.5” H
12”x12”x9” H
25”x25”x39” H
Fuse Size Wire Size Ship Weight
Visit our website to
download our new
online fusing catalog.
Wissmach Glass Co., Inc.
P.O.Box 228
Paden City, WV 26159-0228
Tel: (304) 337-2253
Fax: (304) 337-8800
[email protected]
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