Re: Lampwork question

From my readings, etc., hard glass is harder to work with and I the glass can be more expensive. Plus I think the torch setup is different, too.

Look here for prices on Glass Alchemy glass (hard glass) $49 per pound:

Thanks, Kandice. I appreciate the input. "the nature of

Like raku issues, sort of?

Thank you, Barbara. I will look into these links. I just stumbled across this one:

Hi Christy,

Lampworkers seem to prefer the cool things they can get boro to do. And I have some and I love it. But my personal preference is for bright clear colors which are more common with pyrex.

I don't claim to be typical.

Actually, in the same way that I want to work with my favorite colors and combinations because I have a quicker eye for it, I would suggest you simply work in what you like best. I also believe that it's fine for an artist to usually use the same colors. It makes it much easier for me when I'm looking for something in those colors.

Tina

Karen - How did you learn all this? I appreciate the info. I certainly don't have the ability to go for the more expensive just now, so this is really good to know. Now - let me ask this - What then, is the purpose of going the boro route? Just for the more organic color and time/ease/length of mallability?

I am going to get really, really excited now about lining up this class! I so love the "paperweight" type glass, for example that link someone posted to the guy in Hawaii who had the beautiful pendants with butterflies in them... Somehow the clear glass encasing seems to act like a magnifier and intensifies the colors. I thought you could only do that with the hard glass. And i really love the beads of the guy who goes by "antglass" on EBay, and that's boro. But if soft glass can do all that cool stuff and if i have an aptitude, and if and if and if... Ooh i am getting very excited about this! Christy

Um, not sure about that one - as I don't know what raku is. :)

have the ability to go for the more expensive just now, so this is really good to know. Now - let me ask this - What then, is the purpose of going the boro route? Just for the more organic color and time/ease/length of mallability?<

First off, you're very welcome! The condensed version of how I was seduced by hot glass is that I always thought it was cool. I used to be a fiber-holic and at a workshop weekend I met Leah Fairbanks, who very kindly talked to me about what she was teaching in her class. I was enthralled. I found a class with Kate Fowle a few months later and that was that! I've since taken a few more classes with Kate, Jim Smircich, Tom Holland and Patricia Sage and spent quality time with Sylvie Lansdowne, who was my "glassmomma-mentor" on AOL when I started to get brave enough to sell. And as you can probably tell I'm a chatterbox. Occasionally I manage to listen, too. Luckily a lot of other glass junkies are talkers too.

As to "why boro?" For me part of it is the challenge. There's something amazing about messing around with the same stuff I cook with (Pyrex is just a brand name for borosilicate glass), but getting to make it pretty. Also, I'm a wannabe painter (but can't draw worth a damn) so this is MY way of messing with colors. Boro just gives you different possibilities...like the difference between working with pastels or watercolors or oils or color pencils. I was never satisfied with anything smaller than the 96 color box of crayons. And the surprise reactions between colors give you even MORE possibilities.

The other thing IS the malleability. Round beads are nice but I like texture and motion, too. My flutter beads are a starting point, leading to some of the other bizarre things I've messed with. Unfortunately, with soft glass you end up doing a wild dance when you get away from a more unified shape, trying to keep all the parts and bumps and edges warm. I've watched Sylvie make large mermaids and be almost done, only to have a tailfin *crack* at the wrong moment. (Horrible sound) Boro won't do that. You can do wide, thin pieces, pick 'em up, put 'em down, focus on one area for a much longer time to work on a detail, and it won't break on you. I've done rather large (over

Eventually, I don't think it has to be an either/or thing at all, unless you want it to be. I sometimes go back & forth at one sitting, but I can go for days with one or the other, too. It just depends on my mood and what I have in my head.

-- KarenK Desert Dreamer Designs

I'm guessing, then, that most of the people who do sculptural glass use boro? Like my friend Steve, who can do anything from a winged cat to an anthropomorphic fox to one of Hal Clement's Mesklinites in glass... but he said he'd never do another Mesklinite because all those body segments were a stone bitch!

Celine

Kinda goes "tink"... :-)

As they used to say in the old country, "Hokey Smokes!" I guess there are many, many possibilities with this soft glass! thanks

Those were amazing!

yeah...Tink got my bead that went "Tink" when I made it. It made itself into a heart.

Mary

Can you give us a link?

Tina

snipped-for-privacy@nocoxspam.net

Stunning!

Tina

Very nice!!!!!

Tina

Oooooohhh, I learn something new every hour it seems! :)

Thanks for the help. I'm going to schedule the class once the kiddies are back in school and I'll give you an update!