WarmGlass.com

I know this is going to be an ambitious project for me, but I am really interested in translating my original image to glass. I have attached a scaled down version of the image to make it fit on this post. The first hurdle in my mind right now is going to be in the color selection. I work with primarily with frit but wonder if this is going to call for some additional techniques to get my color more evenly matched up..? For example, enamels perhaps, for painting some of the finer details? I am not attached to the final product looking exactly like this image (though that would be fine by me...lol)...Mostly I just plan to use it as a framework to work from.

I am a System 96 user (because that is what I was originally taught on, and have inventory of) and realize I will have some limitations with my color palette. In particular, the pinks/purples as well as the orangy/burnt sienna you see on the top of the cone flower. Any ideas how to best achieve those vibrant colors in this composition would be very much appreciated...I'm so eager and excited to attempt this in glass!

What is the image you've shown made of?

looks like encaustic. bur whatever it is i like it. rosanna

It's an altered image using Photoshop Elements from a photo I took this week in a friends garden. I just got a new camera and have been discovering all it's wonderful features....but I am most excited about how to best use it as a tool in my glasswork.

I have some other ideas about how I could make this work, but then it wouldn't be 100% glass and enter the mixed-media realm. I'd really love for it to be entirely glass.

study the methods of the Higuchi's.
Painstaking attention to detail in the whole process.

Coneflowers are amazing. I've tried to paint them before on pink antique glass, using enamel for the orange stamens. Meh results. I want to try again sometime.They make you want to match the color well, because they're such a cool color combination. I don't have any suggestions for how to interpret them with the Sys 96 palette. But good luck to you.

The Higuchi's blow me away. Simply WOW! As time permits I will definitely study up on their amazing work. Thank you for that suggestion Kevin.

I think what is probably going to have to happen is that I focus on using mixed-media techniques for the flower to get those colors right on. I thought about substituting other colors for the flower...but the existing colors are much too delicious to compromise on...

I am open to hearing about non-System 96 options to achieve these colors.

You won't get that vibrant purple/hot pink color with Sys 96. I use enamels when I make my flower tiles. Right now I am using Thompson's, as that is what I have on hand. Some of the other brands, Ferro or Reuche, may have a more extensive color selection.
Cate

It would really be most helpful to see images of glass projects that have used any of those brands/enamel colors before I would splurge on the product(s). I have definitely been checking out those product lines you mention Cate. Thank you. I'll keep looking...

Does anyone have images of BE projects they can point me to where they have used BE's Fuschia colored frit in a powder form?

Studiodunn wrote:It would really be most helpful to see images of glass projects that have used any of those brands/enamel colors before I would splurge on the product(s). I have definitely been checking out those product lines you mention Cate. Thank you. I'll keep looking...

Does anyone have images of BE projects they can point me to where they have used BE's Fuschia colored frit in a powder form?

If it is what I am thinking of, I have seen some of it fired and it is very close to the color you show above. Go to Facebook and look up Rosalind Stanton -- looks like she has an open profile. I know she has some pieces with the color I am referring to (I've seen them in a class taught by her...). It doesn't look like they are on her FB page, but you might be able to contact her for a quick photo.

Dana W.

Thanks Dana...I'll definitely check it out!

BTW...I just purchased "Kimiake Higuchi: Pate de Verre" from CMOG for $30.00. I could have gotten it for $184.50 on Amazon right now. HA!!

There are a lot of shades in your image, so the fastest and easiest way to obtain this is probably with enamels/Glassline/etc. However, if you layer and blend powders you can pretty much dial in exactly the colors you want (that's the essence of pate de verre--I think I'm up to 7,300 different color test samples at the moment). If you're familiar with fresco painting techniques, layering powders works in much the same way.

The big deal with any of these methods is to test. I've got to admit I strongly prefer the palette on the other side of the fence, but I don't see why you couldn't do a good job of reproducing the colors in this image with System 96 powders. They offer deep gold pink, light purple, dark purple, violet, etc...all transparent colors, which is what you need for mixing and blending.

I've got a few posts on my blog that talk about mixing and layering frit:
http://www.morganica.com/bloggery/2006/ ... tercolors/
http://www.morganica.com/bloggery/2007/ ... -de-verre/
http://www.morganica.com/bloggery/2009/ ... cking-may/
http://www.morganica.com/bloggery/2007/ ... -for-frit/

The trick with layering is to keep the layers thin and use a lot of them--if you're doing flatwork, build it upside down. That way, the bubbles introduced by the powder will move up, to the back of the piece, and if you need to coldwork the front you won't be breaking through and making pinholes in the front. Start with a thin crystal clear sheet--the regular clear glasses can have tints that muddy your color--draw your outlines, and start by putting down highlights, then work your way back.

Dark transparents under clear will add depth, and the farther you put them back in the layers, the more they'll start looking like shadows. Light transparents will disappear unless you have a lot of them in front of a dark--I sometimes temper them by mixing a little bit of a corresponding opaque powder into the mix.

Greys and mid-purples are really wonderful for adding shadows, a thin layer of an amber will tone down an overbright color and make it look more natural (but they're usually very reactive so you "buffer" them with a layer of clear between them and whatever they're going to react with).

Cynthia...You seriously rock. You are so generous with your time, sharing your what you know. You are the ultimate glass ambassador! Bless you and THANK YOU!

I do have some Gold pink confetti I think I can put to use if I crush it down a bit for detail work. The "Turns Pink" powder I have turns way to darkish cranberry blah for my taste or for what I am looking for this project. I understand that it may even anneal at a different (lower) range than non gold bearing colors, so I'll have to be careful I suppose. I'll runs some tests and go from there...Thank you for the great links full of meaty information.

I'll keep working the problem...At least it will be a learning experience. This project has me absorbing more and more of what Photoshop Elements can do. So impressed...It's stretching me out of my comfort zone a lot. The current hurdle I have is to figure out how to print this in the larger size that I want it. I broke down and used Shutterfly for this one, but want to know how to do it myself in the future. Learning about resolution/pixels etc. as you increase the scale of an image. In the past I have just eye balled it, but for something like this, I can see how beneficial it would be for accuracys sake to have an image to work from that is the same size as the piece I am doing.

If you want deep pinks and fuschias then forget the system 96 and use some Bullseye. The fuschia is dark in sheet glass but you can layer your frit as thick as you need. There is also cranberry 1311, and several pinks in the 1800 series. Also shades of coral and pinky oranges. The colours are richer and nicer than any enamels I have ever seen. Many enamels in the pink/purple range are pretty awful. It's a very difficult colour to make, in glass as well as pigments.

mixing enamels with clear enamel is an option to get better colours. Helps with compatibility too.

Thank you Lynn...I definitely see what you are saying. I have felt a pull in that direction over time. I'm not quite ready to jump over...It's more affordable to stay put, while I am still learning and experimenting.

Kevin...That is interesting to know! I'll definitely explore that option further. BTW...I'm enjoying learning more about the Higuchi's. TY!

click on image to enlarge
I also use photoshop in my work. I use it to de-pixilate the colors, so that rather than 25 million that your eye can see maybe you have just 200 for your glass image. Mix your frits in varying ratios, (1/8 etc) melt , crush and voila, new colors. layer frit on both sides on clear thin, down side the frit will be trapped by the clear and will retain sharp edges, upside the frit will spread a little. Most of my paintings have 5-6 layers done this way.
you can see them @ http://www.melarcher.com

Lovely work Mel! Thank you for sharing your insights...I really liked your bleeding hearts on your website. Very pretty! They have some of the colors I was seeking in this example.