new work - the hand
Moderator: Brad Walker
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new work - the hand
Something new from the kiln. Though small (10" x 7") this piece is somewhat of a big deal for me -- this is the first piece I've done where the technique and style is something that I enjoy enough (both creating and looking at) to start building that ever elusive "cohesive body of work"
- Paul
- Paul
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Paul, I've looked at this piece several times since you posted it. You're right it's wonderful to look at. The colors in the background and the shapes made by where the colors aren't are super. The hand keeps doing different things. That may sound strange, but hopefully not. Sometimes it says 'Hey!' and sometimes to my eyes it's reaching to touch the background. Lovely piece.
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Re: new work - the hand
PaulPaul Tarlow wrote:Something new from the kiln. Though small (10" x 7") this piece is somewhat of a big deal for me -- this is the first piece I've done where the technique and style is something that I enjoy enough (both creating and looking at) to start building that ever elusive "cohesive body of work" - Paul
Isn't it a rush when you begin to see yourself coming through the work. Keep it up.
Bert
Bert Weiss Art Glass*
http://www.customartglass.com
Furniture Lighting Sculpture Tableware
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Bert Weiss Art Glass*
http://www.customartglass.com
Furniture Lighting Sculpture Tableware
Architectural Commissions
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The "generic" process is:daffodildeb wrote:Can you talk a little bit about your technique? I know sandblasting has been mentioned, but I'm stumped about the rest.
One way or t'other, it is an evocative piece. Would love to see more!
1) Apply a thin layer of color to a sheet of glass. This is typically mica, glass powders, or enamels. Thinking about it, it could even be a devitrification if you could persuade it to appear the way you want it to.
2) Mask (cover) the areas where you want the color to remain. There are many "resists" people use for masking -- ranging from materials that are like rubber contact paper intended for this purpose to tape and objects glued to the glass surface. The key here is that the resist must be able to stand up to the blasting.
3) blast away the thin color layer that is not protected by the resist
4) (optionally) refire the piece to restore the smooth shine to the blasted area
Once you start looking at the variables you quickly realize that the palette of possibilities is genuinely endless.
- Paul
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Paul' s new work
Paul,
I've liked all your work I've been privileged to see. The icing on the
cake is this bold new departure. Love it. You go, guy!!
Nita
I've liked all your work I've been privileged to see. The icing on the
cake is this bold new departure. Love it. You go, guy!!
Nita
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Thanks Kim.GatorGirl wrote:I am inexperienced with mica powders but I´ve read that they do not show up well on a clear or light background. Are these colors just frit powders? They are truely vibrant! Did you use an airbrush to apply and blend the colors somewhat? I love the work! It is inspirational!
Thanks,
Kim
The vibrant colors are Thompson Enamels. There are many ways to apply (including with an airbrush) -- for this piece they were sifted onto the glass.
You are correct that micas do not show up well on clear glass -- though you can create some nice -- but subtle -- effects.
- Paul
Last edited by Paul Tarlow on Mon Feb 23, 2004 9:15 am, edited 1 time in total.