MSSE: Blog

So I finally gave in after seeing everyone else making pumpkins for weeks and asked Andy to show me how it's done a couple of weeks ago. As usual, when he showed me everything went so smoothly and it was all so simple. When I came back to try on my own it was much less smooth. After trying four times and making about sixteen pumpkins I think I almost have it sort of figured out.

It's a two gather on a "Callie" pipe, which is to say mid-size. The second gather gets the color. Melt the color in but it isn't necessary to completely liquefy it. It has to be somewhat thick to hold the shape of the mold. Hit the back on the marver table in order to set it and to allow the glass to cool just slightly before going into the mold. Allow the glass to drip a little as it enters the mold to give it some additional length. Blow until the sides expand into the lobes of the mold. The bottom should be fairly thick. Lifting and blowing a little to elongate further is okay, but too much and the bottom will start to crack. Heat again for a moment and go back into the mold if necessary. The bottom stays relatively thick through the process so when the pumpkin is flattened it should thin to match the rest. Heat enough to jack the neck down very tight without cutting off the bubble. Increase spin rate to flare sides. Blow while keeping the pipe at 45 degree upward angle to avoid stretching. Push the base in to recess the jack line into the body just a bit. Quick puff, flash, and heat to flatten the bottom. If the pumpkin is already round heat the bottom to avoid further flattening of the body. Use the wood paddle to flatten the bottom or compress the body to avoid cooling the base too quickly and creating a sharp angle between the sides and base.

Break off in the hot box (color pick up box on the floor). Two gathers on a small punty for the stem, color on the second gather, melt in, and then go into the small ridged optic mold. Go back into the heat for several seconds to soften. Andy attaches to the body and goes back into the heat. I'm not sure that would go very well for me, although I will try it (as long as the pumpkin is thick enough it would work fine). Smash the stem into the top of the pumpkin to ensure good fusion, pick up, press base of stem down all around with diamond shears, then hold the body down while stretching the stem out. Either wrap around the rod then cut or cut then wrap. As the glass thins it cools quickly, so cutting becomes very difficult. The best luck I've had is stretch, cut, wrap, and snip the end before torching. I would imagine going back into the heat after attaching the stem will allow for more time to do all this without rushing.

Thought for the day

2013-10-17T19:22:13Z

"Sell your clothes and keep your thoughts." Henry David Thoreau, Walden.

Blue Sage Studios Book

2013-10-17T18:53:51Z

After a photo shoot at the studio in early September Andy mentioned publishing a book of the photographs I've been taking over the last several months. We'd discussed the possibility early on but it took a while to gather a large enough collection to produce a book of any substantial size. After that shoot I guess Andy realized we probably had enough to get started. I put together a rough draft (after a week it wasn't really all that rough) and we met to go over the layout and see what changes or additions he wanted to make. He chose to keep it essentially unchanged with only a few additions like a dedication and studio information. I was flattered to say the least but also a little overwhelmed that I would have to take most of the responsibility for what I thought was just me playing around. :) He ordered a few copies on the ninth and they arrived about a week later. Here is an electronic copy. It's great working with Andy and everyone else at the studio. I can't describe how much fun I've had.

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A few months in

2013-07-04T00:37:49Z

I've made a few pieces without any help and I've also refined my shooting techniques. One thing at a time.

After making the same thing over and over again it's finally starting to sink in. I've made a couple of bulbs by myself and then made two flared bowls recently. My technique isn't perfect, but I can manage to keep most things in one piece and in something close to the shape I wanted. More importantly when I totally screw up it isn't as bad and I can fix my mistakes.

Photographing glass is still a challenge, but at least I finally realized a polarizing filter might take care of some glare. Every piece of glass responds differently based on how it reflects light, where the lights are placed, and the colors involved. I probably need some dimmers on my lights....and a thousand dollar lighting setup, but so far things turn out pretty well.

Online again

2013-05-06T00:18:56Z

I started learning how to blow glass back in February of this year and in the process I've also found another use for my photographic skills...after all, chicks only like guys with skills. Learning how to blow glass is a lot of fun and trying to get pictures of it is a challenge. Also, with the help of my master-seamstress mother, I was able to put together a very large custom made light cube, which means I got to be an engineer, yet another passion/compulsion of mine. It can be tricky to get the lighting just right.

While a studio is a controlled space a light box is a mobile method of controlling light. So far I've had to contend with windows and overhead lights, but as long as I place everything in just the right spot the light box blocks most random reflections.

The other major consideration in this process: the difficulty of shooting glass. It is very reflective and comes in all shapes, which means each photograph requires custom lighting. Lights have to be moved around, aimed away or directly towards the piece, and all while keeping the lighting even and eliminating shadows as much as possible. I recently purchased a boom-arm for my overhead light to control the overhead light a little better.

In the end my goal is to be a better glass blower and a better photographer. I also hope that my pictures are good enough to present the pieces in the best way possible so that others might appreciate what the artists that created them are capable of. I record my own work to document whatever progress I might make, but trying to do artwork from expert artists justice is the real challenge.