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Create Visual Excitement with Pattern & Shape

Pattern and shape are two of the simplest elements that can easily be manipulated to dramatically increase the appeal of fused glass art. By adding unique patterns and building new shapes you can draw the viewer in and lock their attention tight. In the end, isn’t that our goal, to inspire people with our art?

You’ve enjoyed success making the usual plates, bowls and vases following practices and guidelines laid out by the experts. But the element of surprise and the thrill of the unexpected success has gone missing. If you find yourself blindly staring at the glass wishing for inspiration, then it’s time to break the rules. Make art that excites you again.

Before you run wildly through your glass studio, be sure to set this excursion up for success. Start by studying finished art that you find attractive. Define what it is about the piece that appeals to you. Is it the shape, the colors, the pattern, or the design? Take that element and put it aside temporarily. Maybe loosely sketch it out on paper for quick reference later. Do this for three individual pieces of art.

Brilliant Bubbles by Lisa Vogt as seen in Fusing For the Adventurous Webinar

Small details can have a huge impact on the visual appearance of your art.

Don’t underestimate the power of minor changes to customary pieces. When trying to navigate a new territory, you’ll have the greatest success if you take what has worked for you in the past and then expand on it to create something all new and unexpected.

Here’s how to get started.

Anchor the viewer’s eye with an interesting pattern. Unexpected bubbles are usually considered undesirable. But when made into a uniform design, bubbles can add a whole new dimension to the glass art. Designing with bubbles is a terrific way to add decoration and a little sparkle. Light dances inside the tiny dome shapes which increases the appearance of depth and the overall intricacy of the finished piece.

Here, I’m using stringers to establish the pattern. They’re placed even distances apart in two directions on a base glass and then capped with clear glass. The cool thing about this technique is the assembly method dictates the placement, size and shape of the bubbles. If the openings between the stringers are square, then the bubbles are round. Rectangular openings result in oval shaped bubbles. While triangular openings give you tear drop shaped bubbles.

Making small, 2” x 2” test pieces will give you an opportunity to try unusual color combinations. It also builds confidence because you know what to expect when you go bigger. The best part of this technique is the possibilities for imaginative designs are endless. Try it. You’ll be blown away!

Black Tie by Lisa Vogt as seen in Sculptural Fused Glass Video

Sculpture romances the viewer.

Sculpture romances the viewer. It pulls them in like a magnet. Give your art unique shape and the viewer will be hooked. With so many fusing materials at your disposal, it’s never been easier to get creative with your art’s profile. The easiest way to get funky shapes is to drape fiber material over an existing slumping mold. Give the fiber paper exaggerated contours by tucking kiln posts or fiber board between the mold and the fiber.

You can also achieve new shapes by combining different ceramic or stainless-steel slumping molds together. Some of my most exciting pieces have been made this way.

If you’re shy to jump in, build a sample out of clear glass. Make the sample the same shape, size, and thickness as the intended project. Clear is the best choice because it’s the least expensive glass. And you can see through it to see where the glass rests on the mold assembly. Then you’re able to adjust the final piece as needed. Plus, there’s no waste. The clear sample can be smashed and used for casting filler. It’s a win, win.    

The wonderful thing about this technique is every piece of glass slumped has a one-of-a-kind flare. They’re making your own personal original. Now that’s exciting! 

Get crazy and combine both techniques and you have a showstopper. The biggest drawback to this in-depth approach is the amount of time necessary to plan an exceptional project. True, not all projects warrant this much effort. But if you work in stages on a few, you’ll find the outcome is extremely rewarding.

Design developer.

Take it a step further and create your own design. Go back to the three pieces of art you studied earlier. Take the three elements that attracted you and combine them with a unique pattern and a sculptural shape. Now you’re on the threshold of greatness!

These are just a few examples of breaking the rules. If you’re ready to rush into your studio, excited about the possibilities, don’t stop here. These techniques have great potential for expansion in so many directions. Take them and run and set your imagination free.   

For more advanced instruction check out my Sculptural Fused Glass Video.

Check out my video: How to Create & Retain Texture to learn more.

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Happy Fusing!

Lisa & Niki

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How To Design Striking Fused Glass Art From Your Scrap!

No Waste! That’s just one of the many great things I love about glass fusing! Even the tiniest piece of glass is usable/fusible.

It takes a lot more glass to build elaborate designs with intricate shapes than it does to build designs with simple square shapes. With the rising cost of material always in mind I want to get as much use out of my sheet glass as possible. Rather than let the cost of material inhibit my creative direction I trust in the process. While fabricating the project at hand I keep an eye out for interesting new design ideas that develop along the way.

Octopus Tray

This flowing octopus design is an amazing example of how to repurpose cut offs. The movement of the tentacles combined with the vivid blue background and painterly quality of the frit make it so fun to build.

When I have a design idea in mind I draw the pattern without limitations. Then I decide on the best fabrication method to achieve the artistic look I want. I enjoy cutting glass by hand with my pistol grip cutter. I actually use my saw as little as possible and save it for deep cuts that would otherwise be impossible. But the ring saw was my tool of choice to get the smooth, graceful shapes I believed would bring this design to life.

The sweeping glass curls cut from the background of the octopus were prefect for a new complimentary design. I love the octopus tray for its whimsical design and its striking color. It’s a one-of-a-kind and should be appreciated as such. I wanted to created something different with the cutoffs, something equally as exciting and unique.

High Contrast Colors Get Attention

When approaching this piece I felt the distinctive shapes of the dark blue curls would carry the design. All these pieces needed was a simple, uncluttered field to perform their magic. I love the way the sweeping tentacles appear to come from behind and embrace the white glass. It contrasts the Octopus Tray where the design originates in the middle and spreads to the perimeter. The high contrast colors combined with the graceful shapes elevate the elegance of the finished piece of art.

In the future, when you’re looking for inspiration look no further than your scrap bin. There’s a literal gold mine of ideas just waiting to be discovered. Get cutting!

This Octopus Tentacle Tray is the newest project now available with my Premium Video Membership. You’ll enjoy seeing how easy it is to make. Not a member but still love this piece of art? No problem. It’s also available as a single video download.

Happy Fusing!

Lisa & Niki

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How Glass Reacts to Heat

You have choices when it comes to how to fire your projects. Different temperatures will result in different project characteristics. My goal here is to give you the tools to make educated decisions when selecting your firing method so you have greater control and more satisfying results. 

Fusing Defined

Fuse: To heat glass pieces in a kiln until they melt together into one piece.

Glass Fusing Process Temperatures

Full Fuse

Full Fuse

Full Fuse 96 COE 1465°F (796°C) 90 COE 1480°F (804°C). Full fuse is the most common firing method. At this temperature the assembled glass project pieces melt together to form one smooth piece with visible, but not tactile, seams. The project has a smooth surface and round, shiny edges. I choose this temperature when I’m making decorative and functional artwork where I want a smooth, uniform surface.

Contour Fuse

Contour Fuse

Contour Fuse: 96 COE 1425°F (774°C), 90 COE 1400°F (760°C). A contour fuse is a fired look between full fuse and tack fuse. At this temperature the glass layers are fused, and the edges are soft and rounded. The project surface has both visible and physical texture. I use this temperature when I want to create a decorative project with physical texture that increases the surface area to reflect more light.

Tack Fuse

Tack Fuse

Tack Fuse 96 & 90 COE 1365°F (742°C). At this temperature, the glass pieces stick together. The project edges will be square and shiny. Design elements will retain their texture but are generally not sharp to touch. This is a great temperature for suncatchers and other ornaments where you want a light firing that really sparkles.

Combine Techniques

You can fire a project to a full fuse for the smooth rounded edge quality. Then refire it to a contour or tack fuse temperature with additional design elements on top for a unique and dazzling look.

My Building Process 

Most of my work is assembled with the two layers, plus accent method. I refer to the bottom layer as the base and the second as the design layer. The base layer and design layer are the same shape and size. The base layer is often a single piece of clear, but not always; sometimes it’s made up of cut pieces. The second design layer can be a single piece of glass, but often, its pieces fit together to make a specific pattern or design. The third accent layer is minimal, and it usually consists of small fusible elements that enhance the design theme. I choose to build this way because I get consistent results time after time. The finished size and shape of the artwork is predictable. The pieces come out of the kiln with beautiful, rounded edges and a consistent thickness that is both attractive and durable.   

It’s All Good   

Keep in mind, there’s no single right or wrong way to make any project. Personal preference, design style and function should all play a role in helping you decide which approach is best. The objective is to consciously choose your firing temperature based on a solid understanding of the results.  

Excerpt from Glass Fusing Terms as seen on my website.

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Happy Fusing!

Lisa & Niki

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How to Create Shadows and Shading

You’re wondering why is this subject important? You’ve likely had success working some element of shading into your pieces and that’s great. However, you may not know about the seldom discussed advanced techniques experienced artists use to produce more sophisticated compositions. With thoughtful planning, you can apply these simple techniques and drastically increase the richness of your work.      

When creating shading, it’s natural to reach for black frit or black glass. Black efficiently separates the foreground from the background. Black is also great for outlining your subject. However, there’s a better solution that adds richness to your scene.

When you use black to make shadows it creates a visual hole in your work. This void pulls the viewer’s attention away from your composition. For this reason, I use black as little as possible. I apply it with purpose for specific details in my designs. Instead of black, I use very dark blue, chocolate brown, deep purple or ruby red to make shadows in my pieces. I select the dark color that best suits the color scheme in my artwork. Using powerful high contrast colors adds velvety depth and an incredible richness to the setting.

How to create shadows with color.

Wine Glass as seen in my Simple Pleasures Video

Here I used dark blue to establish the linear details that translate into a grape vineyard behind the wine glass. The deep shadows the blue color creates, give the scene a relaxing late afternoon mood. The border is dark purple which mimics the color of grapes and wine.

Octopus Tray as seen in my Premium Video Membership

Here I used dark red to make shadows on the underside of the octopus tentacles. This application also makes the tentacle visually round and full. Dark red also worked beautifully to outline the octopus body and place it in front of the tentacles that curl behind its body. The only black in this piece is the eye detail.

Fairy tale Forest as seen in my Painting with Frit Video

There’s no black in this lush scene. The dark shadows in the trees and along the path are made with dark blue. The shadow cast on the woodland path is a combination of purple and dark amber frit. Get creative with your color combinations to build up dark recesses that make your highlighted details pop.

Winter Landscape as seen in the winter issue G.P.Q. Magazine Jan 2023

In this piece of art, black is limited to the lines on the tree trunks. I selected muted tones to create a quiet, calm, and relaxing setting. The shadow under the trees are created with medium purple frit. It simultaneously gave me depth and softness which I wanted to portray in this winter scene.

Welcome Fall as seen in my Premium Video Membership

When making this seasonal piece I wanted to maintain a warm yet rich color palette. I used a small amount black in the word welcome and in some of the letters that spell out FALL. When it came to adding shadows to the pumpkin, I used orange opal frit. The contrast is subtle but effective. I’m pleased with the stylized design and the inviting warmth it adds to my home.  

You got this!

Don’t worry about missing black. Once you substitute colors for black, you’ll love the effects you’re able to create. You’ll be amazed how switching to dark colors transforms your art and brings it to life.

Artists take what they see and make it new.

We take an ordinary scene and turn it into something new that reflects our sense of drama and whimsy. Using rich colors, instead of black, is a fabulous way to push designs in any direction you want to establish a personalized mood and tone. Give it a try. The possibilities are endless. You’re only limited by your imagination.

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Happy Fusing!

Lisa & Niki

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5 Tips to Better Glass Cutting

Be a Cut Above

One of the fastest and easiest ways to improve your fused glass art and dramatically expand your design style is to develop your glass cutting skills.

The beauty of working with fusing is the simplicity of the medium. Many people come to the craft with little or no glass cutting experience. Due to the ease of fabrication and wealth of readily available information, they’re successfully producing attractive pieces from the start.

But if you’re now tiring of the simple cut and assemble methods that got you started and longing to move in a more advanced direction, a small dose of technique is the jump start you need.

It may seem like a trivial topic to address, but your project complexity is in direct relation to your cutting confidence. In other words, the better you cut, the more likely you are to venture outside of your comfort zone and take on more challenging projects.

Here are some tips to get you started. 

1 Consistent pressure.

Contrary to popular belief, it doesn’t take a heavy hand to make a good score line on glass. What it takes is consistent, medium pressure from the very beginning to the very end of the score. The glass cutter should, “sing” as it rolls over the surface of the glass. It’s a pleasant, consistent sound beginning to end. It’s not a cringing grinding noise. A good score is visible its entire length. But it’s not messy and littered with thin splinters. The grinding noise and splinters are signs you’re applying way too much pressure.

Many beginners start strong but let up the pressure as their hand moves farther away from their body. In this case, breakage tends to occur ¾ of the way down the score line. Beginners believe the score comes solely from the hand. A good score comes from making your wrist, elbow and shoulder one rigid tool. This combined strength and rigidity helps you apply consistent pressure the entire length of the score even at an awkward distance from your body. 

When cutting an unusually long piece, I turn the glass so I can run my score right to left instead of away from my body. This way I can move my body along with my hand and more easily maintain the consistent pressure needed for a successful break.    

2 Cut on the smoothest side of the glass.

In some cases, I prefer the look, color or pattern on the textured side of a sheet of glass. I turn the glass over and cut on the smoother side and then simply turn the glass back over when I assemble my project. The glass cutter wheel will have better, more consistent, contact with the glass the entire length of the score if you cut on the smoothest side. 

3 Beginning and end.

Try to start your score as close to the leading edge of the glass as possible without falling backward off the glass. Apply consistent, medium pressure from the very start. End the score as close to the far edge as possible without falling off the glass. Repeatedly falling off the glass edge will damage the cutter wheel and could possibly cause the glass to shatter.  

4 Use the right tool for the job.

Use a strip cutter or circle cutter when applicable. Accuracy is key for professional quality artwork. These tools give your work consistency. Plus, they save material by reducing waste and breakage.

When cutting strips, I cut a few more than I need and select the best, straightest strips for my project. The extra pieces find their way into smaller projects, pot melts or free flows. Nothing goes to waste.

Whenever possible, I opt to use running pliers over grozing or breaking pliers to break glass away from a sheet. Running pliers give the most reliable results. They work best if the glass being removed is at least as wide as the rubber tipped plier jaw. When breaking narrow or small curved pieces away, I choose grozing plies because the narrow jaw fits in tight places and allows me to get close to the score line.     

5 Use paper patterns.

Don’t hesitate to cut around a paper pattern to include an intricate shape in your work. This is a terrific way to transition away from strictly geometric designs and into pieces with lively organic elements.

Glass wants to break in a straight line. To cut rounded shapes, we make a series or gradual curves and break the excess glass away in steps until we have a glass shape that closely resembles our pattern.  

When cutting around a paper pattern piece, cut as close to the paper as possible without running into it. Beginners tend to cut a wide safety halo around the paper. It just postpones the inevitable. Be brave. Go for it. If the glass is going to break unfavorably the halo, no matter how heavenly, won’t prevent it.

Something to build on.  

The more time and effort you put into each step makes the next step easier and the finished product that much better. Don’t rush a project just to get it in the kiln. Give it the time it needs and produce your best work, every time. If you have to ask, “Is this good enough,” it probably isn’t. Do yourself a favor, re-do that piece or step. You can thank me later when you’re doing the, my piece came out awesome, happy dance.  

Go ahead. Cut it up!

Happy fusing!
Lisa & Niki

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