Blog - Lisa J Vogt

Posted on March 17, 2026March 17, 2026 by Lisa Vogt — Leave a comment

Sculptural Fused Glass – Take Your Artwork to a Higher Level

What does sculptural fused glass mean anyway?

Sculptural fused glass is the creation of three-dimensional forms that rise above a flat plane. Artists create 3-D works by using multiple methods and techniques with complete freedom of materials and process.

Sounds exciting, right? All you have to do is stand your art up and it’s miraculously sculptural. Sure, you can do that. The word sculptural sounds exotic. Add it to any piece of art and suddenly it has a mysterious aura surrounding it and a significantly higher perceived value. But like most really exceptional work that looks easy, there’s more to making impressionable art than just erecting a flat piece of fused glass.

The real difference between art and craft is the depth of immersion the creator puts into the creation of their art.

Hobbyists copy. They follow outlined directions and build pretty pieces according to a pre-tested recipe. Don’t get me wrong, there’s nothing wrong with doing that. Hobbyists want to know they’ll be successful and have beautiful results. Especially after all the time and money they’ve spent on a pass-time.

I’m a hobbyist when it comes to other popular hobbies like music, bird watching and video games. That’s how we learn. By following the pros and picking up their tricks, we learn how to make things we’re proud of and admire.

And if you become hooked, maybe you take your hobby a step further. You try new techniques and experiment by mixing techniques or combining ideas that inspire you. This is the threshold of advanced learning and the blossoming of self-discovery. You wonder, what can I do? What can I make? How far can I go? And the real question is, what am I capable of artistically.

Hobbyists often start a hobby to relax and enjoy quiet time. They are content to stay in the shallows where it’s safe and they are successful. And that’s admirable.

Artists, on the other hand, take their commitment more seriously. They’re drawn to a medium by an invisible magnet. From the start they’re compelled to learn as much as possible about that art form. They have every intention of progressing, to work on bigger, better, more advanced projects. They head for the deep end without looking back and, sink or swim, give it all they have.

What does this have to do with sculptural fused glass?

Sculptural fused glass is the product of such artists. They’re the ones who go above and beyond. They challenge convention and push boundaries.

You may think it takes extensive experience and an impressive glass studio to be one of those pioneers. You’d be wrong. Your most valuable assets are a positive attitude, insatiable curiosity and a fearless willingness to try. Just try. Trying is worthy of celebration and cheers.

How to get started.

I recommend making small 2 inch x 2 inch samples using different, new techniques that intrigue you. This gives you construction and firing experience with these new methods to see how they fire in your kiln. Then consider mixing methods that you’d usually do independently. Take these component pieces and cut them up. Then put them back together in a new way.

Slump plain clear fusible glass over molds in unique ways. Try combining different shapes to make sculptural groupings all your own. Again, start small. You can always take a successful project larger. Once you have a winning combo slump your component pieces the same way.

Take notes and pictures so you can repeat your successes and learn from mistakes.

Your biggest obstacle is likely you. Get out of your own way. Start small. Make tiny changes. Results are results. They don’t have to be monstrous to have enormous value.

If you’ve come this far in your craft, if you’re continually seeking inspiration, knowledge and community, I believe you have it in you to create your own unique sculptural fused glass.

You got this!

Happy fusing!

Lisa & Niki

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Posted on March 10, 2026March 10, 2026 by Lisa Vogt — Leave a comment

Defy Conventional Thinking and Make Something Amazing in 5 Easy Steps.

Knowledge – Confidence – Inspiration

Weave Bowl Project Video

Start with a unique oval shape.

The oval is an elegant shape traditionally associated with luxury and wealth. It’s a shape that’s easy to make in glass. I honestly don’t know why, we as high thinking creatives, don’t take advantage of its particular attraction more often.

I’ve used the weave technique many times to make square bowls and rectangular lanterns. The openness of the construction, and the playful overlap of colors combined with the fascinating texture all contribute to the charm of the finished piece. I thought to myself, how can I take this winning combination to the next level? The answer of course was to use this simple, but effective technique to make an unexpected oval shape.

Fabricate your piece with a distinctive glass weave technique.

My weave technique is super easy, surprisingly fun to use and produces very effective results. It’s simple. Pick a color palate and cut a series of ¼ inch wide strips of glass. Cut more strips than you think you’ll need to make your project. This way you have extra and won’t have to interrupt the assembly step to cut more glass. I used both transparent and opal glass, plus dichroic glass on clear.

Draw the oval shape on a primed or fiber paper covered kiln shelf. The weave is made with 4 layers of glass strips. I laid my strips out diagonally for added interest. Layout layer 1 leaving plenty of room between the strips for layer 3. Cut the pieces to size. I intentionally cut my pieces to create a fringe edge. Layout the strips for layer 2 in the opposite direction. Leave room between the strips for layer 4. Repeat with layer 3 and 4. Carefully load the kiln shelf and assembled project in the kiln. Fire to a Tack Fuse temperature.

Use the heat of your kiln to create your own custom results.

This project is tack fused together. At this temperature the resulting project retains the woven texture. The pieces are heated to the point where they stick together, and the bond is strong enough for the project to support its own weight. The attractive textural quality is both visual and physical which makes the piece more engaging. Consider using the tack fuse temperature to add details and accent pieces to fused glass art to introduce another facet of interest. Here, on this weave bowl the tack fuse option really increases the level of sophistication of this piece of art.

Slump your glass to give it a graceful profile.

Slumping adds elegance and a pleasing three dimensional quality to your fused glass art. The physical texture created by the weave is also greatly enhanced by the gradual curvature of the bowl shape.

Finish with a custom base worthy of your exceptional artwork.

Making a custom stand or base is equally as exciting as making a striking piece of art. It’s rewarding to follow thorough to the natural completion of a project with a display that shows it off. A base gives the art lift which immediately increases the perceived value and visual intricacy of the finished piece. It also allows light to go through the glass and cast reflections that enlarge the overall impression of the art. Keep the stand or base simple. It should add to the art, not overpower it, or distract from it’s beauty.

Keep the dream alive!

One of the many things I love about working with glass is the endless design and fabrication options that are available to us. There are an abundance of exciting new approaches waiting for you to discover when you venture down the less traveled path of experimentation. Let’s go!

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Happy Fusing!

Lisa & Niki

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Posted on March 3, 2026March 3, 2026 by Lisa Vogt — Leave a comment

3 Ways to Develop You Own Design Style

Glass fusing is more popular than ever. The originality and quality of work I’m seeing in galleries, on websites and in our fusing groups is amazing. With so many enticing techniques to try it’s tempting to copy other artist’s work.

We all want guarantees that our limited time, hard work and expensive materials will produce dependable, beautiful results every time. And so, we play it safe and continually make the same reliable projects. Or we take the easy route and reproduce other’s work that we find attractive. But, it doesn’t have to be that way. You can develop your own individual design style. By applying a few simple concepts, your finished work and the time spent creating it will be more rewarding and exciting.

1. Be Original!

It’s all been done before you argue. How can I be original, you ask? Yes, it’s all been done. But even the simplest techniques seen through your special artist’s lens and executed with your skilled hands can produce all new results.

To advance beyond routine projects begin by examining art that you admire. When you see a piece of art that really speaks to you, study it. Reduce your admiration down to the most basic attribute of the art. What really captures your interest? Is it the color, the shape or the imagery? Take that feature, hold on to it, then put it aside temporarily. Look at another piece of art. Identify the specific characteristic that you find attractive and put that feature aside temporarily. Do this for a third piece of art. Study it until you know exactly what trait appeals to you. Then take those three characteristics and combine them and you’re guaranteed to design your own original art.

2. Shape Up!

One of the fastest and easiest things you can do to make your art stand out is to give it a unique shape.

The most common shape for fused glass projects is the square. Primarily, because it’s economical, there’s no waste. And, because there’s very little cutting, it enables you to get right to the fun stuff, building the design. It’s also popular with beginners and hobbyists with basic cutting skills. By moving away for the square, you immediately increase the visual value of your work.

The rectangle is popular for the same reasons. If you change the shape of your square or rectangle, even slightly, you’re sure to engage the viewer longer.

The circle is traditionally a very pleasing shape. It requires a higher skill level to cut and therefore is more unique. But it also benefits from innovative thinking and a fresh approach to the perimeter shape.

How do you come up with new shapes?

I like to draw quick, no obligation sketches on note book pages. I resist the urge to self-edit or limit the creative flow. The pencil just glides over the paper making a mess of the previously clean white space. The first few sketches usually resemble familiar, safe shapes and designs. But once those are out of my head, suddenly there’s room to be more creative. All new shapes begin to develop.

During these exercises I’m free to draw the impossible.

I then take bits and pieces from the shapes that I find interesting and remix them to create my own new, project profiles. And sometimes, if I’m lucky, I even manage to figure out how to build the impossible ones.

3. Combine Fusible Techniques

Putting it into practice.

The beauty of this approach is the techniques don’t have to be super difficult to have a positive impact on your new work. We all have our favorite, trusted, go-to techniques. Start there.

Using a complimentary color scheme, make three individual pieces, using three different methods. Cut the pieces up. Reinvent their roles in your art. Move them around. Change the composition a few times. If nothing thrills you, set them aside and let your creative subconscious have a turn.

Don’t force the grouping. I find that once I relieve the pressure to solidify a design, one presents itself. And the new composition is usually one that I otherwise would never have thought of. In cases like this, I believe the physical, ready made pieces guide and influence the discovery of innovative designs. Try it. You’ll be amazed how this abstract assembly opens your mind to fresh ideas.

Trust yourself.

Design with confidence. Resist the impulse to compare yourself or your work to others. Instead, blaze your own trail and don’t look back. Take pride in your individuality and what you contribute to the craft.

Take risks to further develop your personal design style. Nurture your unique artistic perspective and your creative spirit will flourish.

Happy fusing!
Lisa & Niki

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Posted on February 24, 2026February 24, 2026 by Lisa Vogt — Leave a comment

There is NO Always or Never in Glass Fusing

Glass fusers constantly ask me for advice. They want me to give them concrete answers to their questions. They seek the comfort and consistency of solid solutions to all their inquiries.

It’s just not that simple.

There are SO many variables. How big is the project? What size kiln is being used, what type of construction are you using? Just to name a few. It’s impossible to give an accurate assessment of your process without knowing every detail of your specific construction and equipment.

I’ve been fusing glass for 38 years. I consider myself experienced, not an expert. I don’t have all the answers. However, I use my years of experimentation to come up with practical solutions for building new projects and to solve unexpected problems.

Be smart. If someone offers, you must do it this way advice, they don’t know what they’re talking about. There’s no way they can take all the unknowns into account and give you valuable guidance.

It’s your job as the artist to do your own research.

When you have a question about how to proceed on a project, it’s your job as the artist to do your own research. Find the best practices for you, in your workspace with your materials and then make educated decisions on how to complete the artwork to the best of your ability.

A comment on one of my YouTube videos prompted this blog topic. The fuser asked if a slumping mold should be placed on kiln posts, instead of the kiln floor, to allow air circulation. This is a perfect example of, it depends. How big is the kiln? Where are the heating coils in the kiln? How tall is the mold? Optimally, it’s best if the fused glass sitting on the mold is as far away from the heating coils as possible to prevent breakage. If you’re using a deep kiln and there’s room, sure put the mold on posts. If the kiln is shallow, I’d place the mold directly on the kiln floor.

It’s okay to take advice and only use the part that works for you. In fact, take lots of advice and make up your own personalized best practices. After all, you’re an artist, apply your creative spirit to the entire process technical facets included.

You got this!

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Happy Fusing!

Lisa & Niki

Knowledge – Confidence - Inspiration

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Posted on February 17, 2026February 17, 2026 by Lisa Vogt — Leave a comment

The Incredible & Amazing Value of Test Firings

Don’t run away screaming! I hate wasting time and throwing material away on test firings just as much as you do. Or at least I used to. But the truth is, you’ll have faster artistic growth and a more expansive set of techniques to work from, if you learn to love test firing.

Make it fun.

When firing a planned project, I tuck a small test piece in the kiln on the corner of the shelf. This way I have the main project to look forward to, and a bonus project to learn from.

I had a sculptural piece of art in mind for years. It was a good fit for my new video, Advanced Glass Fusing, but I didn’t know if I could pull the piece off. In my minds eye, the art curved in apposing directions. It had a strong linear pattern, accented with windows on the tips of three wings. The intricate design represented a lot of time and intense attention to detail.

Before committing to cutting the glass for the design I wanted to be sure I could create the fluid shape I wanted. I made a custom mold by draping 1” thick fiber blanket over a series of ceramic bricks and kiln posts.

The artwork would be ¼” thick. I cut a piece of double thick clear fusible glass to the size and shape of the intended art and slumped it over my custom mold. The slumped shape was close to what I envisioned. But it was too shallow and lacked dramatic flair. I made the mold steeper, giving it a more severe angle. I also increased the hold time at my conservative slumping temperature of 1220 degrees from 20 minutes to 35 minutes. The second piece of double thick slumped beautifully. The glass had a graceful curve and broad sweeping wings.

When I assembled the intricate pieces to make the artwork I did it with confidence knowing it would be slumped in a way worthy of the effort.

That feeling of artistic freedom was empowering. It also spurred new design directions that drive me to experiment further.

Test firing is valuable on every artistic level, small scale as well as large scale.

Arctic Freeze from Advanced Glass Fusing Video

The project doesn’t have to be bold or revolutionary for you to benefit from testing a new way of construction. When making a piece that would feature a decorative element cut from a combed glass slab, I wanted to include a second pattern that reinforced my color scheme. I fired a small test of the colors I selected. Later, I used that information to create a beautifully detailed pattern blank. The blank was the perfect complement to the combed component.

*Fire Storm* from Fun & Fanciful Fusing Video

Before making Fire Storm for my new video, Fun & Fanciful Fusing I test fired tiny bits of glass. I wanted to determine which temperature would give me the best shiny edge quality, while retaining the irregular shapes I liked. As it turned out, I preferred the look of the pieces after being fired to a slump temperature, not the fire polish temperature.

Even failed tests have value.

A student in one of my classes made a project where they stacked a transparent amber glass on a transparent purple glass. The project was UGLY! But they created a beautiful, Winnie the Pooh brown. Now as a finished project, it was awful. But as a learning tool it was priceless. We now know how to make a rich, warm brown color on demand.

The takeaway is this; test firing is not a waste of time or materials. It’s an investment in the future of your artistic growth.