Design, fabrication and installation by Jake and Jessie Battin.
It’s a real thrill when my kids want to spend time with me in my glass studio cutting and fusing glass. My daughter and son-in-law recently moved into a new house. I was so excited when they told me they wanted to include functional glass art in their interior design plans. And so, they decided to make artistic, custom pendant lights to hang over their kitchen island. Both Jessie and Jake have glass working experience. I mean seriously, how could they not have dabbled with glass. Especially when they have such a rich resource, my glass studio freely available to them all the time.
This was different though. This time they weren’t just in the studio to complete a project. They both really wanted to learn the entire process. They craved the working knowledge to apply complex construction techniques to build more elaborate pieces of art. You can imagine, my heart sings when I think about them getting more involved and truly enjoying my passion.
We embarked on a journey. Our mission was to build unique light shades and remain a happy family. I tried to guide and leave. It was so hard to leave, but I know alone time in my studio is magical. When you’re immersed in the act of creating, when your hands are busy and your mind is set free, your spirit is invigorated. I knew if they experienced that free-flowing positive energy, they’d be hooked, just like the rest of us creatives.
In my vast experience, I know draping glass can be difficult. Results often vary. Several factors play a role in the outcome including the size and shape of your fused glass. I suggested we make a test piece to ensure we could create a finished shape that resembled their vision.
The test piece was priceless. We learned that they didn’t like the addition of the yellow glass. Layered on the blue glass, the yellow changed to a muggy green that didn’t go with their decorating color scheme. We learned that the accent strips were too blunt for our taste. We used longer strips on the actual pendant lights. We adjusted the tack firing schedule and went hotter to make the accent pieces around the rim melt more, giving them a softer look. We changed the drape firing schedule to a lower temperature to keep the interior of the pendant lights more open so it would be easier to access and change the light bulbs.
Now that you have the motivating backstory, here’s how we made the pendant lights. Keep in mind that my intention here is to guide and leave. Take the following, use it for inspiration and then blaze your own trail of blissful discovery.
Measure your mold.
The first step in making our pendant lights was to measure the stainless-steel draping mold. We wanted the lights as large as possible, but we didn’t want the irregular edge to come in contact with the bottom of my kiln. This was a design choice made by Jessie and Jake. We measured the mold up one side, across the flat top and down the other side with a flexible tape measure. We concluded a 15-inch round piece of art would give us the look they wanted. Of course, you can go larger. The result would be an irregular rim that flares out.
Full fuse.
We selected white glass for the base layer. White diffuses the light so the shades would produce a soft, but bright glow. It also hides the light bulbs from the sideview of the pendant lights.
Get started by cutting 2, 13-inch circles out of white glass for the base layer of the pendant lights. Then cut 2, 13-inch circles out of light blue glass for the top layer of the pendant light. Cut the accent glass colors into ¼ inch x 1-inch to 1 ½- inch pieces for the rim of the pendant light. Vary the glass sizes for an attractive organic lamp shade rim. Grind the cut circles to improve the shapes. Place the white glass circle on a primed, or fiber paper covered kiln shelf. Stack the blue glass circle on the white glass. Arrange the cut strips on the empty shelf around the circles. Fire the glass to a full fuse temperature using the full fuse guide provided.
Tip: Make more accent pieces than you think you’ll need. I know, they’re tedious to make. Whine if you must, Jessie and Jake did, make more anyway. You’ll be happy you did when it’s time to assemble the project for the tack fire step. Jessie and Jake were happy they stuck it out.
Tack fuse.
Use a pencil to draw a 15-inch circle on a primed or fiber paper covered kiln shelf. Center one fused circle inside the pencil line. Arrange the fused strips around the circle. Vary the lengths to give the rim a flowy, graceful look. Create a second layer by stacking strips on top of the fist layer. Again, vary the placement to personalize the design. When placing the second layer, overlap the first layer of strips and the fused glass circle. This visually softens the hard edge. Place strips in a circular fashion, at even intervals all around the fused glass circles.
Tack fire the assembled glass using the guide provided below. We intentionally tack fired these projects to a slightly higher temperature than usual to give the accent strips a softer appearance. We fired these to 1385 degrees and held there for 10 minutes instead of the standard 1365 degrees for 10 minutes. This is your opportunity to be the artist and decide for yourself how you’d like your lights to look. Don’t hesitate to fire your pieces to the standard temp or experiment with a new temperature for more customized results.
Drape the glass.
Here’s the tricky part. Draping glass over a stainless-steel mold often gives you inconsistent results. The size and shape of the glass you’re draping has a huge effect on the shape of the finished art. The alignment and location of the heating coils in the kiln also makes a big difference in the way the glass falls. The size and shape of your kiln also plays a role in the project’s success or failure. When designing these pendant lights, we imagined a fluid, freeform bottom edge. And so, we wanted the draped shape to be graceful and flowy as well.
The clamshell kiln that we used to fire these pendant lights has an interior depth of 13-inches. The heating coils are in the lid only and they run from the front to the back. We removed the kiln shelf and kiln posts from my kiln. We then covered the bottom of the kiln with fiber paper. Removing the kiln shelf ensures we have the greatest distance between the fused glass and the heating coils. If the glass is too close to the coils it can break due to thermal shock during the heating process. When set up, there is approximately 5 inches between the glass and the heating coils in my kiln. The fiber paper protects the kiln floor if the glass falls off the draping mold.
We placed the stainless-steel mold in the middle of the kiln on the fiber paper. The fused glass was then centered on the mold and fired using the drape guide provided.
Kilns fire differently.
If you haven’t draped glass over a stainless-steel mold yet, I recommend doing a test piece first. Then you can adjust your firing schedules to ensure you achieve the desired results. The easiest and least expensive way to make a test piece is to fire two pieces of clear glass together. Then drape the glass over the stainless-steel mold. Take notes and before and after pictures. Then you can repeat your successes and learn from any unexpected outcomes.
Repeat the steps to make the second pendant light.
Drill holes for the light fixture hardware.
The irregular edge made the bottom rim of the pendant lights fragile. So, we carefully nestled the glass upside down in a box of packing peanuts. The soft material supported the glass without putting undue pressure on the free-form rim while drilling. We found the center of the circle with a ruler and then marked it with a black pen. An extra set of hands is helpful for this next step. Have someone hold the glass to keep it steady while drilling.
We used a variable speed drill and started drilling with a ¼ inch drill bit at about a 45-degree angle. Once the drill bit creates an impression, we hold the drill vertically. The glass and bit are lubricated with water while drilling. This reduces friction and keeps the glass dust down. We apply just enough pressure to make progress. We rotate the drill bit as we’re grinding the glass away. This extends the life to the drill bits while reducing the stress on the glass. Once through the glass, we switched to the 3/8-inch drill bit and made the hole larger to accommodate the light fixture hardware.
If you have not dilled a hole in glass before, I suggest you try it on a piece of scrap glass. That way you get a feel for the amount of pressure to apply and see what it’s like to actually go through the glass.
Jessie and Jake ordered light fixtures online. They found several designs that complimented their furnishings. Prices ranged from under $50.00 to over $200.00. They wanted sleek and simple fixtures and therefore, their light fixtures came it at the low range.
Installing the pendant lights.
The light bulb sockets that came with the light fixtures were too big to fit comfortably inside the draped glass. We bought simpler light bulb sockets at our local home improvement store. Depending upon on the style pendant light fixture you select, you might have to replace the light bulb sockets. Due to the nature of the installation, I recommend having a licensed, professional electrician change the light sockets and hang your light fixtures and pendant lights.
I love going to family and friend’s homes and seeing my artwork on display. It’s an even greater thrill to visit Jessie and Jake’s home and see them glow with pride when they talk about making their own pendant lights. It’s wonderful to have been included on their journey of discovery. I rejoiced along with them when they felt the satisfaction of overcoming obstacles and celebrated the enormity of their achievement when their new, decorator lights transformed their already beautiful kitchen into an intimately personal haven.
I hope you enjoyed taking our artistic journey. Now it’s time to set out on your own and see what exciting glass art you can create. We are all capable of amazing things. You just have to try. I believe in you!
NOTE: Kilns fire differently. Test fire these guides in your kiln and then adjust as needed.
Fusing Guide Temperatures are in Degrees.
Segment 1: Ramp 300 F/hr to 1300 and hold 30 min.
Segment 2: Ramp 500F/hr to 1465 and hold 10 min.
Segment 3: Ramp 9999(AFAP*) to 960 and hold 40 min.
Segment 4: Cool to room temperature.
*As fast as possible
Tack Guide Temperatures are in Degrees.
Segment 1: Ramp 300 F/hr to 1385 and hold 10 min. (Standard is 1365)
Segment 2: Ramp 9999(AFAP*) to 960 and hold 40 min.
Segment 3: Cool to room temperature.
*As fast as possible
Drape Guide Temperatures are in Degrees.
Segment 1: Ramp 300 F/hr to 1175 and hold 10 min. (Standard is 1265)
Segment 2: Ramp 9999(AFAP*) to 960 and hold 40 min.
Segment 3: Cool to room temperature.
*As fast as possible.
Check out my newest video to see how to drill a hole in glass.
For advanced glass drilling instruction check out my Fused Vessel Sinks video.
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Happy Fusing!
Lisa
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Advanced Glass Fusing Class
4-Day, Hands-on Class, Wesley Chapel, FL
February 4-7, 2025
YOU can make gallery quality fused glass art! You’ll love the personalized instruction in this exciting advanced technique, artistic awakening and skill building workshop. This is the turning point experience you’ve been waiting for.
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Wesley Chapel, Florida, 4-Day, Hands-on, Class size is limited.
In this class, you will push the boundaries art glass imposes. Students will explore innovative approaches to design and combine multiple advanced techniques to construct original art that reflects their own personal style. You’ll enjoy: the one-on-one instruction, making multifaceted projects, the well-equipped classroom, and the intimate class size.
You’ll love the concentrated, in-depth study and creative momentum you’ll gain while actively producing, nonstop for four consecutive days. You’ll leave class with a working knowledge of kiln operation, custom project specific firing guides, and the inspiration you’ve been craving to go bigger and do more elaborate works of fused glass art!
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