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Kiln Glass II is the ideal next step for the student who has completed Introduction to Kiln Glass, either at Vitrum Studio or at another studio. It is also beneficial for those who jumped head-first into creating with glass on their own and now have questions about the process. This two day workshop will introduce you to basic design concepts through designing and creating a circular plate and two coordinating pieces of tableware (and you’ll have several styles and shapes from which to choose.) • We will show you ways to refine your glass cutting skills and you will gain a better understanding of common problems you may encounter - and how to avoid them. • You’ll learn to use a circle cutter, how to cut glass to fit other shapes, and how to measure and cut glass to fit other pieces in a composition. • Simple methods for coldworking an edge will be explored so that you can create more professional work even in a small home studio. • Finally, a refresher on firing schedules and proper firing techniques will be reviewed so that you will be prepared to work on your own and adapt firing schedules appropriately for your own projects. |
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 class project, Ursula Marcum |
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This four-day class explores the related textures in fabrics, baskets, and weavings which are the foundations and the sources of inspiration for Erna’s creative and technical approach to glass design. Working with frit, glass powders, reactive glasses and metallic elements, students will use these materials to create components that result in unusual color shadings and visual textures. Multiple stage firings will transform these materials as they combine and react with one another, leading to beautiful (and sometimes unexpected) results. Thorough group analysis of these “surprises” will lead to further development and understanding of the techniques covered. Students will create two wall pieces with heavily textured surfaces and aged, weathered effects, all inspired by textiles. Students will analyze firing results together, and emphasis will be placed on individual growth and development of designs and ideas, culminating in highly individual pieces. Returning students are welcome to join Erna for either session. |
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Basic Metal Clay skills are absolutely required. In the first stage of this two-day class, you will use high fire enamels, stamps, engraving tools and other simple methods to discover how an ordinary piece of glass can be transformed into a sophisticated jewelry element. Then you will design and create an Art Clay Silver component to embellish and enhance the original glass piece. You’ll learn how to create a rivet to join the two elements together to create a stunning piece of wearable art. The rivet not only acts as a connector to join different materials – it also serves as an important design element within the final piece. Students should bring basic metal clay tools and 40 – 50 grams of Art Clay Silver. All other materials and use of some tools will be provided. Students will complete two full pendants as well as several glass blanks and reference samples. |
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The techniques in this class have been developed through Vitrum Studio research over many years to help you understand how to use glass powders effectively, and to show you how to think about glass and glass design in a completely new way. You can become more painterly in your work as you break out of the limits of sheet glass and learn to use soft lines and delicate shading rather than the harder lines of cut glass pieces. You can mix and overlay powders to create new colors, subtle hues and realistic shading We will demonstrate ways to make powder wafers to create both realistic details and true-to-nature colors in your work, and we will lead you through the creation of both a floral study and a landscape as you explore these new techniques. |
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A Sense a Place has been a Vitrum classic workshop since Judith and Kevin taught it at The Studio of the Corning Museum of Glass over a decade ago. Many of the class projects have changed over the years, but one that has always been included in the class is “Summer Snapshot”, a perennial class favorite. Responding to multiple requests, we’ve developed this class to focus solely on the many interesting techniques associated with this one project and further explore them. In this three-day workshop, students will use a variety of methods to create kilnformed components that will be combined in the composition of their two final pieces – the Shoreline and the Streambed. Working with iridized glass, you will create custom iridized frit and colorful cabochon blanks to use as “raw material” for a variety of components for the two projects. We will also work with frits and powders to create representations of natural elements found in these water environments. Design components will be kiln-fired, and then manipulated using both hot and cold techniques, re-fired and finally selectively combined in the projects. This class is designed for the student with a knowledge of kiln glass fusing who is interested in exploring new techniques in the medium. |
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design inspired by Sandy Chierici |
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In this class you will reexamine this time-honored glass construction process pioneered by Klaus Moje, the father of contemporary kiln glass. Pushing the limits of what we know as strip cut construction, we will explore what happens when variables are altered. Choosing from Vitrum Studio’s extensive library of samples for this class, we will explore and research design possibilities through sample making. On the first day, each student will create a variety of samples. Then, as a group, the class will examine the results of each of those samples after firing. These carefully analyzed results will inform the design of the final larger project on the second day. |
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Here at Vitrum we have made many experiments to learn how to control the distortion and displacement of design in kilnformed glass. These experiments have resulted in the techniques that we will share in this unique class. We’ve long been intrigued with the natural ability of glass to flow in the heat of the kiln, as well as how it moves and affects the surrounding or underneath glass, patterns and shapes. You’ll start by creating bold geometric patterns created from stringers and sheet glass, then we’ll use the heat of the kiln to contort these rigid patterns into flowing designs with striking optical form and depth. Controlled bubble entrapment as design elements and visual distortions will also be demonstrated and explored. You’ll create and take home a wide variety of samples that can launch your work in new ways. |
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Capitalizing on the ways glass can be arranged in and flows from a crucible, students in this innovative workshop will learn to create reproducible decorative canes and intricate murrini using the Vitrigraph Kiln. These elements will then be fused into a blank that will ultimately be used to explore the Dropout methods of slumping glass in the kiln. Students will learn the basics of working with the Vitrigraph kiln as well as a selection of updated/advanced methods of murrine making. Each student will create one Dropout vessel while learning the many variables involved in the Dropout process. Prerequisites: Students will need to be able to confidently cut approximately (30) 3”-5” circles out of 3mm glass. Glass cutting is introduced in this workshop but students need to have experience prior to class. |
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Students in this process-driven workshop will learn how to use the Vitrigraph kiln to create custom murrine that will then be used to create a kilnformed glass box. Basic Vitrigraph murrine making will be covered alongside kilncasting in an assembled vermiculite board mold system developed by Nathan. By combining these two processes, students will have the opportunity to create a well-crafted and unique work.
There are no pre-requisites but interested students should understand the basic techniques involved in kilnformed glass and be comfortable accurately cutting circles out of 3mm sheet glass. |
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