"Grounding" Layered Block Project

I am really fond of the layering technique to create depth of image. I often think of scenes in my head, and think "that would look so cool in glass..how can I do that?"

Bullseye Glass has so much great (free and paid) information on their website. They also have a great mobile app that lets you access some information from their webpage faster, and makes it easier to print a copy. Here is a link to their main Education page, which lays out everything they have to offer. A yearly subscription is only $39 US, and is well worth it:

http://www.bullseyeglass.com/all-methods.html

The method I used for this project is wonderfully and explicitly explained in their TipSheet #3 handout. I will not explain every detail of my process here, so I highly recommend you read the TipSheet if you are unfamiliar with this technique.

After I said all those great things about Bullseye, I have to disclose that I use System 96 (and other COE 96) glass...But that doesn't mean I don't love Bullseye glass (I do!) So, keep in mind that firing schedules will vary for System 96 glass than what is indicated on their TipSheet.

Here is one example I created a few months ago. It all starts with a sketch. This one came to me in a dream:

I thought this would be an excellent subject for a layered block project, given the depth created by the trees and shadows.

So, my next step was to determine what elements I wanted in each layer. I elected to construct a 14-layer block using four pre-fired double layers. Pre-firing some (or all) of the design layers helps cut down on bubbles in the finished piece. Since I was using a lot of frit in each layer, I knew the probability of trapped air would be high if I did not pre-fire.

Here is the first layer (farthest back in the block)

I should say that I usually did more than one pre-firing per layer. I found that I wanted to add a bit more here and there, so each layer wound up being fired at least twice, sometimes more! I also had some spreading at the edge (growth beyond the pre-fired dimensions) since I wanted the frit so close to the edge. I had to trim some with the wet tile saw (and/or my ring saw, depending on what was more convenient). 

Here is layer #2. I added a lot more on this layer. The trees are painted with Glassline Pens. I found that I had to go back and add more Glassline paint over the lines to get it dark enough. 

You can probably see that my cut edges are not perfect...they did not need to be. Don't sweat the small stuff. 

Here is layer #3:

And #4:

In my original design, I had layers #3 and #4 in the opposite order, but I found that when it was all together it looked better this way. That is another advantage of pre-firing the design layers--you will be able to visualize the final look and maybe make some adjustments before you finally fire the block. 

Here are all the design layers stacked together:

I decided to use Pale Blue Irid on the outside, instead of just clear irid. I liked how the colour added a bit more darkness to the piece--it made it look more like a night scene without it getting too heavy. 

As you can see in this photo, I used the maximum dimensions I could in my Paragon 7 kiln. The final dimensions were 9" x 6" x 1.75". 

Firing took a total of 56 hours. I made sure to use the Spectrum annealing chart instead of the schedule for Bullseye. 

Here is the final result!

I just love the way it projects the scene onto the table when in sunlight!

I hope this has inspired you to attempt something similar. It seems scary and complicated at first, but it is so rewarding to see it finished. 

If you have any questions about the process, email me at info@sarahdionne.com

Hello All,

Thanks so much for checking out my adventure in writing about everything warm glass. For those of you who are unfamiliar with the term, it refers to glass working techniques using a kiln (usually). It is also known as fused glass.

I am just starting to get serious about this business, as I find I now have more time to devote to it. I have been selling pieces in the Cold Lake Visual Arts Society in downtown Cold Lake, and I recently was chosen to create the awards presented at the Cold Lake Women of Influence Awards Gala, happening at the 4 Wing Theatre on 07 March 2014. But more about that later...

First, I wanted to acknowledge a few people who have helped me discover my talents in glass: My husband, Sean, who always supports my creativity. Brenda McLaughlin of M & M Glass with Class in Moose Jaw, SK was my first glass teacher (in stained and fused glass) and I learned much from her. I would also like to thank my friend, Sabina Arends of Fireworx Glass Studio in Courtenay, BC. We were together in Moose Jaw for some time, and I learned a great deal from her, too. Thanks!

Since I started working with glass in 2006, there has been a great increase in information available online for those seeking knowledge about techniques and ideas. I hope to share some of my more involved projects and ideas here with you in order to inspire and inform everyone wanting to know more on the subject of warm glass.