Lost Wax Casting and the Art of Pamela Ebert

By Gil Reynolds

I was fortunate to be able to document the making of Ms. Ebert’sdragon. From the first clay master model to the lost wax casting to the final firing of the glass in the kiln, I was able to observe andphotograph the multi step process. After the dragon was completed, Iinterviewed Pamela and gained some new insights into the artist and her techniques. This two part article contains both the fascinating interview and a step by step breakdown of the lost wax process and the materials used...






Thinking Architecturally - Laminated Glass

By Gil Reynolds

As kilns and ideas get bigger, there is a need to insure that our fused glass creations meet safety standards.

One of the best ways to bring our glass work up to code is to inject a special clear flexible resin in between the fused glass and a piece of float glass. The results are similar to a laminated car windshield. One of the leading laminators working with art glass is Rich Lamothe of Glass Strategies in Portland, OR. In the following article, he shares some tips and tricks on laminating art glass....





The Beginner's Process
By Jonny Mae Sturtevant

As a beginning glass artist, I have learned the creative process can be a mysterious and fragile one. At some level, I already knew this, because I am also a counselor and have been privileged in my work to help other artists kindle, and rekindle, their own creative journeys.


When I finally took the plunge and set up my glass shop as a 50th birthday present to myself, I was surprised to brush against some of the same internal obstacles to creativity that have frustrated, discouraged and even stopped some of my clients.

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The Mystical Miniatures of Margaret Braet
By Gil Reynolds

I’m really excited about the potential for FuseNews to serve as a vehicle for fellow fusers to share their discoveries with the rest of the fusing community. I received an email from renowned jeweler Margaret Braet, who has been doing some exciting work with frit using Fuse Master’s Liquid Stringer Medium (LMS) and Paul Kimball’s Freeze ‘N’ Fuse technique. Usually, glass clay made with frit or glass powders and LSM can’t be molded because it won’t dry at room temperatures. But if you combine it with the Freeze ‘N’ Fuse process you are able to get highly detailed castings.

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