Lisa Vogt - Lisa J Vogt

Posted on October 20, 2020 by Lisa Vogt — Leave a comment

Hugs and Kisses From Your Mummy

Halloween is lurking right around the corner. Invite this lively mummy plate into your home and you’ll have the perfect addition to your spooky decor. In my home, our Mummy offers the family a sweet reminder that they’re loved with, Hershey’s Hugs and Kisses.

It’s so simple, but this whimsical mummy plate is one of my favorite pieces of fused glass art. I love the construction simplicity and the freedom to create on a whim.

I made this mummy at a time when I was in the middle of several intense projects that required a lot of attention. One particular day I went out to my studio with the intention of working on a laborious commission. My creative spirit took flight and suddenly I was cutting a sheet of white glass into random scrap pieces. It was as if I was possessed by a need to just have fun and rekindle the joy and peacefulness that come with spontaneous creating. You could say I was haunted by my empty kiln. Or, you could say I was procrastinating. Both are likely true. Whatever the spark, on that crisp autumn day I sang while I cut glass, and a happy artist is always a wonderful thing.

Make your season cheerful. I hope making this seasonal dish brings you unbridled joy. The same thrill it brought me that year, and the pleasure it brings again this year.

How to make the Mummy plate.

Cut the black base glass to 7 in x 14 inch and set aside. Cut several 8 to 9 inch long wedge shaped strips out of white glass. Make some of the strips wide and some narrow for a nice variety of shapes to pick from when you’re assembling the mummy.

Make the mummy’s eyes.

Cut 2 small ¼ inch size squares of white glass. Cut 2 small 1/8 inch size squares of dichroic on black glass. Stack the dichroic on the white. Fire the 2 pieces to a full fuse temperature using the guide below. The small pieces will ball up when fired giving you 2 bright round eyes for your mummy.

Arrange the white strips on the black base. It’s okay if you have narrow gaps. The black glass will show through adding extra detail to the finished plate. It’s also okay if the white strips hang over the black base. Just arrange the pieces to make a pleasing random pattern.

Decide where you want to place the mummy’s eyes. Cut a piece of clear glass to cover the black base in that area. Arrange the white strips around the clear glass. continue to place white strips on the black base until it’s covered.

Once the base is covered lay a ruler along one edge. Using a maker, draw a line to indicate where to cut the excess white glass away. Cut the excess glass off the first side. Then draw a line on the opposite side and cut the excess glass off so the white strips match the size and shape of the black base glass below.

For a festive pop of color, cut opal orange stringers to size and then tuck them between the white strips.

Make the spider.

Using a candle, bend black stingers to make the spider’s legs. Cut a small pear shaped spider body out of dichroic glass on black. Nip the bent stringers to size. Arrange the spider legs and body on the white glass. Hold the spider pieces in place with a tiny bit of fuser’s glue.

Fire the assembled project to a full fuse temperature using the guide below.

Slump the fused project in a shallow plate mold using the guide below.

Hugs and Kisses from Your Mummy Glass & Materials

7 x 14 Inch Plate

Black glass, 1 1/2 sq. ft., for base layer

White glass, 1 ½ sq. ft., for mummy

Clear glass, scrap for eyes

Dichroic eyes

Orange opal stringers, for accents

Black stringers, for spider legs

Dichroic scrap, for spider

7 ½ inch x 15 inch slumping mold

Fuser’s glue

Fusing Guide

Segment 1: Ramp 300 F/hr to 1300 hold 30 min.

Segment 2: Ramp 500F/hr to 1465 hold 10 min.

Segment 3: Ramp 9999(AFAP*) to 960 hold 40 min.

Segment 4: Cool to room temperature.

*As fast as possible

Slumping Guide

Segment 1: Ramp 300 F/hr to 1265 hold 10 min.

Segment 2: Ramp 9999(AFAP*) to 960 hold 40 min.

Segment 3: Cool to room temperature.

*As fast as possible

NOTE: Kilns fire differently. Test fire these guides in your kiln and then adjust as needed.

Watch the New Hugs and Kisses From Your Mummy video here https://youtu.be/ZUccNVy7hIw

Lay out your candy carrying Mummy proudly. Display it in a place of prominence where it’s spooky presence reminds you to have fun and enjoy the unbridled joy of creating with glass.

Happy Halloween!

Lisa

Follow my blog for more tips and tricks!

Website www.LisaJVogt.com
YouTube http://www.youtube.com/watch?v=dhOifd7wukk
Facebook www.Facebook.com/LisaJVogt

Twitter https://twitter.com/lisajvogt

Instagram @lvogt_originalsinglass

NEW Instagram @through_the_artists_lens

NEW WEBINAR!

Lustrous Lanterns Webinar November 17, 2020

Register here: https://www.glasspatterns.com/glass-patterns-quarterly-store/product/1499-lustrous-lanterns-with-lisa-vogt-november-17-2020.html

Light up with me! Create colorful luminaries to brighten your home, office, porch, or anywhere else you’d enjoy the comforting glow of a dazzling accent light.

In this comprehensive live event, I’ll show you how to make 6 sparkling fused glass lanterns. You’ll learn how easily you can construct and build stunning 3-D lamps. I’ll guide you step-by-step through the many stages of construction, including pattern preparation, glass cutting, project assembly, fusing, slumping, and how to “cold fuse” the lanterns together.

You’ll also be shown how to finish the lanterns with custom, professional quality glass display bases. In addition, I’ll share how to utilize ready-made clear glass candle shelters to make fast and easy pick-me-ups. I’ll also show several quick and simple methods for lighting your beautiful new creations. Along with detailed instruction, you’ll receive 6 full-size lantern patterns, my project-specific firing guides, and supply list.

Beginner, intermediate, and advanced glass fusers alike will love the wide variety of unique shapes and elegant new patterns, custom designed to enrich any décor. Join me to rekindle your creative spark with lustrous lanterns designed to set your artistic imagination aglow.

New Class Date!

Sculptural Fused Glass, 4-Day, Hands-on Workshop February 9-12, 2021

Register today! 2 seats available. Register here!

Wesley Chapel, Florida, 4-Day, Hands-on, Class size is limited.

This is the turning-point workshop you’ve been waiting for.

It’s hard to describe what it’s like when I’m feeling the creative flow. Time flies. Hours pass in what I thought were minutes. My naturally distracted mind is focused on what my hands are doing, and nothing else. I get lost in my own world. When I return to reality, I feel rejuvenated and spiritually uplifted. That’s why I like sharing my studio space with others. I try to give them that experience and hope they feel the same inspiration and fulfillment I do. -Lisa

This class is for you! Any skill level can attend. Beginner, intermediate and advanced students alike will learn how to advance their glass fusing skills and expand their artistic style.

Join me and I’ll show you all the pro tips and tricks I use to make stunning 3-dimnesional art. You’ll learn how to combine advanced techniques in new ways to create extraordinary sculptural pieces of art.

You’ll leave class with several completed glass sculptures, my custom firing guides and a deeper understanding of sculptural fused glass fabrication. You’ll have the knowledge, confidence, and inspiration you’ve been craving to take your artwork to the next level.

Materials are included, that’s a $150.00 value!

Here’s what the students from my recent September 2020 class are saying about the workshop.

“My favorite part about the class was the non-stop building and the generous amount of materials available.” -Christine

“My favorite part about the class was the variety of projects we made.” -Monica

“What surprised me about the class was how full the schedule was. Usually, you do 1 project. We did 5 in 4 days.” -Christine

“What surprised me was the number of projects we completed.” -Monica

“Thank you so much for your generosity.” – Christine

“Awesome experience – will come again in the future.” Monica

Did you feel comfortable with the classroom setup and the cleanliness of the studio?

“Yes, super.” Christine

“Yes! – Monica

Student comments from previous classes.

“Instruction was clear, help was always available, and Lisa’s explanation of the equipment was great.” -Sherry

“My favorite thing about the class was the friendly atmosphere that encouraged open thoughts and sharing ideas.” -Lyn

“I enjoyed making all the projects, especially the flow piece and the freedom to be creative with our work.” -Joy

“My favorite thing about the class was the ability to see multiple pieces of art that originated from concepts taught.” -Vicki

“Lisa is very professional, knowledgeable and freakishly talented. House, art, mosaic, her work – really fun and beautiful.” -Lorna

“Incredible class. Lisa shared her artistic knowledge of color flow and her technical knowledge of glass.” -Larry

“I had so much fun! Lisa is a great teacher!” -Brenda

Watch it NOW! Start fusing today!

Downloadable instructional videos for every skill level.

Check out my eBooks for elegant patterns and detailed fusing instructions.

Posted on October 17, 2020 by Lisa Vogt — 2 Comments

Live a Little

Here in Florida, it’s hard to shake summer when our daytime temperatures are still in the mid 80’s. A road trip to New York state earlier this month has me blissfully lingering in a sweet candy colored autumn state of mind.

I was a little concerned about traveling, but we managed to stay safe and have a great time. Getting out of the heat and out of town was rejuvenating for us all. Now that I’m back home, I’m feeling pleasantly refreshed and eager to start new projects.

For those of you who can’t get away for a vacation, let me take you on a pictorial trip to beautiful New England. I took almost 2000 pictures! I sorted through them and still have almost a thousand favorites. It was hard to narrow them down to just a few. I hope you enjoy the scenic tour up north.

When was the last time you went apple picking? It’s been years for me. We visited an orchard where we could pick ripe apples. In advance of going, we looked dessert recipes up online. It turns out there are a lot of apple varieties and several of them are good for cooking. You want a certain texture and sweetness or tartness for specific recipes. Each type of apple has its own special characteristic that make them suitable for certain uses.

At the orchard, we were given a map that showed us where we’d find the trees with the apples we wanted. It was like walking through a delicious maze with tempting fruit hanging within easy reach on either side. I was surprised by the incredible number of apple clusters that hung from the bent and twisted tree limbs. We limited ourselves to one bag for good reason. Once you start picking it’s so fun, it’s hard to stop. And you can only eat so many juicy apples.

The orchard also had a pumpkin patch with round orange globes of all sizes nestled in a network of leafy green vines. The vivid colors and bold shapes were a striking in contrast to the brown dirt and fading blades of grass. The high contrast landscape was a magical location for taking pictures that echo the dramatic heart of the changing season.

With a loaded bag of apples, we then continued our journey to Lake George. My family gathers there almost every summer. I haven’t been there in the fall for a long time. It’s a spectacular time of year to travel to the mountains. We were lucky, the leaves were turning, and the daytime temperatures were brisk and in the mid 60’s. That’s luxurious sweater and fuzzy boot weather for us cold sensitive Floridians. It was the perfect temperature for long walks in the woods and bundled up boat rides on the lake.

Call me silly, but I love to take nature pictures of wild animals. You learn quickly that it’s easy to take a picture of an animal’s back side as it flees your intrusive presence. Taking pictures of animals while they behave without interruption, now that takes patience and a zoom lens, both of which I have. The chipmunk was the most elusive of the northern woodland creatures. I framed dozens of shots but only have one or two pictures I really like. The squirrel was another hard to capture resident. They were busy, busy running around gathering acorns for the long winter. I managed to get a few action shots, but nothing National Geographic worthy.

The real star of my photographs was the colorful, fall foliage. On the trail, the ground under my feet was blanketed with a soft layer of velvety red, golden orange, and sunny yellow leaves. There were tranquil moments, in the woods when I was transported to a wonderland where the wind sang soothing lullabies, and the forest floor appeared to be sprinkled with candy. As I walked, I looked for dramatic compositions with unique shapes and vivid colors that were brought to life by the warmth of filtered light.

The lake is always a captivating subject for my pictures. I can’t take enough pictures of the lake. The landscape of the area, with the far reaching lake, cupped by towering mountains is so different from the tropical scenery we have here in Florida. While I’m there I try to capture the beauty and tranquility of the rolling water. I think, absorb the spirit of the waves and somehow, you’ll carry that restorative energy with you until next year.

We’re all trying to navigate life and slowly rebuild pieces into it from our former existence. I’m starting with the most basic pieces, the small elements that make me happy and feel alive. That includes a mix of quality family time and special me-time. When I’m taken care of, I have the strength to take care of others. This trip was a string of small, simple activities. The accumulative result of a change of scenery lifted my spirit and has left me pleasantly refreshed.

Don’t wait. Go on an exciting trip, big or small, near or far, it doesn’t matter. Change your scenery and shake up your routine for a few days. It’s time to live a little.

Enjoy the little things,

Lisa

Posted on October 14, 2020 by Lisa Vogt — Leave a comment

Spooktacular Ghost Plate How-to

Halloween is one of my favorite holidays. I love the wide variety of fun designs we can make to decorate our homes with a seasonal flare. I like this particular plate for its free-form shape. The graceful curve around the ghost’s head make it jump off the counter. But don’t let the unusual shape scare you. The subtle contours are actually easy to cut. And you can always grind the edge to fine tune the shape. Let’s get started.

How-to:

Cut a 10 inch clear circle for the base layer. Using the pattern as a guide, cut the clear glass circle to match the irregular pattern shape. Grind the glass to remove sharp edges and smooth the shape.

Cut white glass to match the clear base layer. Using a wet saw, cut the background around the ghost’s head and arms away.

Pro Tip: No saw needed. If you don’t have a saw, the white ghost layer can be made up of pieces. OR Cut the white layer to match the clear base layer. Then make the shapes that outline the ghost’s head and arms just like the eyes and mouth, with cut navy blue glass.

Tack glue the white layer onto the clear base with a small amount of fuser’s glue. Let the glue dry before moving to the next step. Gluing keeps the white glass from sliding around when you apply the frit.

Glue Tip: I like to use Elmer’s white glue. I apply the smallest amount of glue possible with the tip of a toothpick. The tiny, pin head size dots of glue burn off during firing without leaving a distracting haze between the glass layers.

Cut the ghost’s eyes and mouth out of navy blue glass. Grind them to improve the shape. Set them aside.

Color Tip: When possible, I prefer to use dark, navy blue instead of black. Black creates a visual hole in the artwork. While the dark blue adds a nice tonal quality that gives the art a more interesting look.

Cut the letters out of bright, seasonal colors. Grind the letters to smooth out the edges. Set them aside.

Once the glue holding the white layer in place is dry, apply the frit. Using a spoon, pour power navy blue frit into the spaces that outline the ghost’s head and arms. Leave enough room to add fine aventurine blue for shading. Next add fine, aventurine blue. Concentrate the darker color on the right side of the openings to create a moody shadow effect.

Using a small, dry paint brush clean any excess frit off the white glass. Be meticulous with your clean up. It’s this type of attention to detail that will make a huge difference in the visual quality of your finished pieces.

Frit Tip: Pile the frit as high as the white glass that contains it. This gives the transparent material strong color saturation, which in turn produces the dramatic, high contrast effect we’re trying to achieve. If you ask yourself, is it enough, add more frit.

Stack the cut glass eyes and mouth on the white layer. Arrange the cut glass letters on the bottom in a semi-circle.

Fire the assembled project to a full fuse temperature using the guide below.

Slump the fused project in a shallow plate mold using the guide below.

Spooky Ghost Plate Glass & Materials

10 Inch Round Plate

Clear glass, 1 sq. ft., for base layer

White glass, 1 sq. ft., for ghost layer

Navy Blue glass, large scrap, for eyes, mouth and shadows

Orange opal glass, scrap, for letters

Teale opal glass, scrap, for letters

Marigold yellow opal glass, scrap, for letters

Amazon green opal glass, scrap, for letters

Navy blue, power frit, for shadows

Aventurine blue, fine frit, for darker shadows

10” slumping mold

Fuser’s glue, small paint brush, spoon

Firing Guides for COE 96

Fusing Guide

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

Slumping Guide

Segment 1: Ramp 300 F/hr to 1265 and hold 10 min.

Segment 2: Ramp 9999(AFAP*) to 960 and hold 40 min.

Segment 3: Cool to room temperature.

*As fast as possible

NOTE: Kilns fire differently. Test fire these guides in your kiln and then adjust as needed.

Keep being creative. You’re doing great!

Happy Fusing!

Lisa

Follow my blog for more tips and tricks!

Website www.LisaJVogt.com
YouTube http://www.youtube.com/watch?v=dhOifd7wukk
Facebook www.Facebook.com/LisaJVogt

Twitter https://twitter.com/lisajvogt

Instagram @lvogt_originalsinglass

NEW Instagram @through_the_artists_lens

NEW WEBINAR!

Lustrous Lanterns Webinar November 17, 2020

Register here: https://www.glasspatterns.com/glass-patterns-quarterly-store/product/1499-lustrous-lanterns-with-lisa-vogt-november-17-2020.html

Light up with me! Create colorful luminaries to brighten your home, office, porch, or anywhere else you’d enjoy the comforting glow of a dazzling accent light.

Beginner, intermediate, and advanced glass fusers alike will love the wide variety of unique shapes and elegant new patterns, custom designed to enrich any decor. Join me to rekindle your creative spark with lustrous lanterns designed to set your artistic imagination aglow.

New Class Date!

Sculptural Fused Glass, 4-Day, Hands-on Workshop February 9-12, 2021

Register today! 2 seats available. Register here!

Wesley Chapel, Florida, 4-Day, Hands-on, Class size is limited.

This is the turning-point workshop you’ve been waiting for.

This class is for you! Any skill level can attend. Beginner, intermediate and advanced students alike will learn how to advance their glass fusing skills and expand their artistic style.

Materials are included, that’s a $150.00 value!

Here’s what the students from my recent September 2020 class are saying about the workshop.

“My favorite part about the class was the non-stop building and the generous amount of materials available.” -Christine

“My favorite part about the class was the variety of projects we made.” -Monica

“What surprised me about the class was how full the schedule was. Usually, you do 1 project. We did 5 in 4 days.” -Christine

“What surprised me was the number of projects we completed.” -Monica

“Thank you so much for your generosity.” – Christine

“Awesome experience – will come again in the future.” Monica

Did you feel comfortable with the classroom setup and the cleanliness of the studio?

“Yes, super.” Christine

“Yes! – Monica

Student comments from previous classes.

“Instruction was clear, help was always available, and Lisa’s explanation of the equipment was great.” -Sherry

“My favorite thing about the class was the friendly atmosphere that encouraged open thoughts and sharing ideas.” -Lyn

“I enjoyed making all the projects, especially the flow piece and the freedom to be creative with our work.” -Joy

“My favorite thing about the class was the ability to see multiple pieces of art that originated from concepts taught.” -Vicki

“Lisa is very professional, knowledgeable and freakishly talented. House, art, mosaic, her work – really fun and beautiful.” -Lorna

“Incredible class. Lisa shared her artistic knowledge of color flow and her technical knowledge of glass.” -Larry

“I had so much fun! Lisa is a great teacher!” -Brenda

Watch it NOW! Start fusing today!

Downloadable instructional videos for every skill level.

Check out my eBooks for elegant patterns and detailed fusing instructions.

Posted on September 29, 2020 by Lisa Vogt — Leave a comment

Frit is Small But Powerful!

Frit has many different applications that can transform ordinary fused glass pieces into extraordinary pieces of art. All it takes is a little forethought when designing your artwork, plus a steady hand and an eye for the extravagant.

Frit is ground fusible glass. It’s available in a variety of sizes including power, fine, medium, course and mosaic. Each size has its own special characteristics and uses.

Powder is great for filling in tight spaces and for a smooth appearance. Fine gives fast, even coverage and leaves a slight grainy look to the art. Medium fills larger areas well. But it can leave tiny gaps that allow the color of the base glass to show through. It leaves a granular pattern that resembles beach sand. Course is great for filling in large areas, but it also leaves spaces. I usually fill those spaces in with medium frit of the same or contrasting color. It’s also great for creating design accents and details like the dots on the dogs muzzle. Mosaic gives you fast coverage on large areas. It leaves a more stylized pattern that can resemble the veining in marble. I often use the different frit sizes in combination to achieve the specific look I want.

I love frit for its versatility. While sheet glass offers striking solid colors, frit in contrast can be used to make subtle color changes and add dramatic shading. The resulting artwork has a surprisingly beautiful, painterly quality that surpasses craft and lingers on the threshold of fine art.

Adorable pets and majestic animals are some of my favorite subjects for my fused glass art. Animal faces can be difficult to render using just sheet glass alone. The end result can be flat and lifeless. But with the application of frit, I can add highlights, shadows and intricate details that give the subject personality and bring it to life.

Meet Rocco, a spunky little French Bull Dog.

From the beginning the plan was to use frit to render this dog’s face. Frit would give me the flexibility to build the color gradually and add contours as needed to fill out the pup’s head.

Let’s build this little guy.

I started with a cute digital picture of the subject. The image is imported into the Glass Eye 2000 computer design program where I draw over the picture. Once the outline is done, I test different color combinations with the drawing program until something fun comes together. Then I move into the fabrication phase.

The first step is to cut the base layer. This project is built on an 8” x 8” piece of white glass. Then the blue background is cut to size using a full size paper pattern as a guide. I selected a high contrast, solid blue color for the background to frame in the dogs face and to contain the frit.

Wherever I want strong control over the line quality, the frit placement and the color of a specific design detail I cut the glass according to the pattern. The position of the eyes, nose and chin are critical. If they aren’t in the right place it throws off the symmetry. This can result in a bizarre, alien looking creature instead of an adorable pup. Here, I cut the blue background, eyes, nose, chin, ears and collar. I then grind the cut pieces to improve the shapes and remove any sharp edges. I clean and dry the glass then glue it to the white base with a small amount of fuser’s glue. At this point, I wait for the glue to dry so the pieces don’t slide around when the frit is poured on the glass.

Frit tools: I use a plastic spoon to apply the frit. Small, dry paint brushes are used to move the frit around and to blend the hard edges where two colors meet.

Once the glue is dry, fine yellow opal frit is poured on the white base. Shadows and contours are created with medium size, dark blue and black frit. Orange frit is added to round out the dog’s head and body. The strong colors are then blended with a dry paint brush to soften the hard edges. Pink frit is applied on the forehead and between the eyes for added interest and fullness. Medium bark blue frit dots are placed on either side of the nose for additional detail.

The assembled glass is fired to a full fuse temperature. The fused glass is then glued into a black frame fitted with a hook for wall mounting.

Pet themed designs are always fun to make. And drawing this type of pattern on the computer is easy. Remember, your drawing doesn’t have to look exactly like your pet. Give yourself credit for trying and enjoy the unique spin you can put on your own artwork.

This small format, 8” x 8” project is the perfect size to try this frit technique. There’s just enough space to get comfortable with frit without getting overwhelmed. I hope Rocco inspires you to give it a try. You’ll love the process and the results.

Quick tips for working with frit:

Don’t be skimpy. For strong color saturation and solid coverage, pile the frit up as high as the cut glass. If you are asking yourself, is that enough? Add more.

Use both transparent and opal frit to create contrast and increase visual depth.

Be meticulous about the cleanup. Brush any stray fit off the cut glass before firing.

Here’s the link to the software I used to draw this pattern. Glass Eye 2000 Design Software for Glass https://www.dfly.com

For more artistic tips and creative tricks for getting the most out of your frit please join me for my Fusing with Frit Webinar, this Thursday October 1, 2020.

Watch the Fusing with Frit Webinar YouTube video here: https://youtu.be/NTNMeg9IA9o

Keep creating. You’re doing great!

Happy Fusing!

Lisa

Follow my blog for more tips and tricks!

Website www.LisaJVogt.com
YouTube http://www.youtube.com/watch?v=dhOifd7wukk
Facebook www.Facebook.com/LisaJVogt

Twitter https://twitter.com/lisajvogt

Instagram @lvogt_originalsinglass

NEW Instagram @through_the_artists_lens

Let’s get together and fuse glass!

Fusing with Frit Webinar

October 1, 2020

Register here: https://www.glasspatterns.com/glass-patterns-quarterly-store/product/1477-fusing-with-frit-with-lisa-vogt-october-1-2020.html

Watch the Fusing with Frit Webinar YouTube video here: https://youtu.be/NTNMeg9IA9o

Ramp up the visual intricacy of your glass art!

Clever glass fusers know that using strong line quality and bold color saturation in combination is an effective way to create stand-out works of art.

Now take such trustworthy techniques and sprinkle in gradient blends and subtle shading achieved using frit. You’ll be amazed just how quickly your artwork advances to a new, exciting level of sophistication.

In this comprehensive webinar, Lisa will show you how to apply several methods she employs to add the striking, painterly-quality she’s developed to improve the impact of your glass fusing projects.

I’ll demonstrate SEVEN projects in this Webinar, from sea turtles to flowering trees to beach scenes and more!

You’ll learn: how to evaluate a design to maximize the imagery, steps for successful fabrication and practical tips for building professional quality, finished pieces.

Along with my step-by-step instruction, you’ll also receive complete material lists and project-specific firing guides.

New Date!

Sculptural Fused Glass, 4-Day, Hands-on Workshop

February 9-12, 2021

Register today!

3 seats available. Register here!

Wesley Chapel, Florida, 4-Day, Hands-on, Class size is limited.

This is the turning-point workshop you’ve been waiting for.

This class is for you! Any skill level can attend. Beginner, intermediate and advanced students alike will learn how to advance their glass fusing skills and expand their artistic style.

You’ll leave class with several completed glass sculptures, my custom firing guides and a deeper understanding of sculptural fused glass fabrication. You’ll have the knowledge, confidence and inspiration you’ve been craving to take your artwork to the next level.

Materials are included, that’s a $150.00 value!

Here’s what the students from my recent September 2020 class are saying about the workshop.

“My favorite part about the class was the non-stop building and the generous amount of materials available.” -Christine

“My favorite part about the class was the variety of projects we made.” -Monica

“What surprised me about the class was how full the schedule was. Usually, you do 1 project. We did 5 in 4 days.” -Christine

“What surprised me was the number of projects we completed.” -Monica

“Thank you so much for your generosity.” – Christine

“Awesome experience – will come again in the future.” Monica

Did you feel comfortable with the classroom setup and the cleanliness of the studio?

“Yes, super.” Christine

“Yes! – Monica

Student comments from previous classes.

“Instruction was clear, help was always available, and Lisa’s explanation of the equipment was great.” -Sherry

“My favorite thing about the class was the friendly atmosphere that encouraged open thoughts and sharing ideas.” -Lyn

“I enjoyed making all the projects, especially the flow piece and the freedom to be creative with our work.” -Joy

“My favorite thing about the class was the ability to see multiple pieces of art that originated from concepts taught.” -Vicki

“Lisa is very professional, knowledgeable and freakishly talented. House, art, mosaic, her work – really fun and beautiful.” -Lorna

“Incredible class. Lisa shared her artistic knowledge of color flow and her technical knowledge of glass.” -Larry

“I had so much fun! Lisa is a great teacher!” -Brenda

Watch it NOW! Start fusing today!

Downloadable instructional videos for every skill level.

Check out my eBooks for elegant patterns and detailed fusing instructions.

Posted on February 4, 2020July 5, 2021 by Lisa Vogt — 15 Comments

Crack the Case –Your Guide to What Went Wrong Inside Your Kiln

Mystery and magic attract us to glass fusing. It’s the mystery of making something new and the magic of melting materials that hook us. I’ve asked numerous students, and most admit that opening the kiln after firing is their favorite part of fusing glass. We look forward to it with the same childhood glee we have when opening a crisply wrapped gift.

When the project comes out as expected, or sometimes even better, angels sing, unicorns exist and a rainbow glows brightly over your studio. On the rare occasion that the project doesn’t come out well, our disappointment is heartbreaking. We ask why, what was different, where did I go wrong? We rack our brains looking for answers.

All the while, the answer is right there in front of you.

You just have to recognize what your broken glass is telling you.

Let’s take a simple project and break it. Our sample project is made of two full layers of glass, plus an accent layer. The base layer is clear, and the second layer is a pretty purple and the third, partial or accent layer is a pattern glass with hints of purple.

To better understand why glass breaks, let’s do a little review.

There are two basic stages to the firing process: heating and cooling. During heating we take the kiln from room temperature to 1200° – 1500°, depending on the type of fused effect we want. Glass is sensitive to temperature change between room temperature and 1000°. To avoid thermal shock, which is breakage due to rapid temperature change, we heat the glass slowly from room temperature until we reach 1000°.

Over 1000° we can heat the glass quickly to the desired temperature. At 1265°, the glass will slump and take on the shape of a mold. At 1365° glass sticks together, otherwise referred to as tack-fuse. At 1465°, the glass will completely melt into one smooth piece. This is considered a full fuse. (These are System 96® temperatures.)

Once we have the desired effect, we cool the glass. The process of heating the glass causes stress within the project. We relieve the stress by holding the glass at an annealing temperature for a period of time. This allows the glass in the project to equalize at that temperature. (The System 96® annealing temperature is 950-960°.)

After fusing, during the cooling phase, the glass is sensitive to temperature change from 1000° down to room temperature. And the project now has greater value because it’s almost done. To avoid breakage due to thermal shock, after the annealing hold, we slowly cool the glass down to room temperature.

Read between the lines.

Heating Breaks

This is an example of what a break would look like if the glass is heated too quickly. The clear base layer and the purple layer broke in two on the way up. They’re visibly separated on the kiln shelf. Yet the accent layer bridges the crack and the project is indeed fused and held together by the accent layer. Layers one and two break because they are larger and therefore have more mass. The greater mass is more sensitive to rapid heat. The accent layer is smaller, less mass and therefore remains intact. A break like this happens inside the kiln. This is a prime example of breakage due to heating the glass too quickly.

It’s possible to break the project apart and refuse it slower, but the finished product will likely be different from the original design.

The fix: slow down. Heat the glass at a slower rate. I heat projects from 4” coaster size to 12” bowls at a rate of 300° per hour with dependable success.

Cooling Breaks

An annealing fracture has a very specific look. It has a tight curve that rolls into a broad gradual curve. (It almost looks like a smile, but not one that any of us would look forward to seeing.) The broad curve is followed by another tight curve. In my experience, the break usually runs vertically through the project. The glass pieces have been fused together and the break is clean through all three layers. The two broken pieces are generally separated by a sizable gap. The gap is evidence of the internal stress in the fused glass. An annealing break can occur inside the kiln or weeks later. This type of break is the result of rushing the annealing time, peeking into a hot kiln or from opening the kiln too early and chilling the glass.

You can re-fire the broken glass and re-anneal it, but the finished project may have a visible scar where the glass was broken. You can add frit or extra accent pieces to hide the seam.

The annealing temperature for any specific family of fusible material is constant. The length of time a specific project needs to be held at that temperature is determined by the size of the project and the number of glass layers used to make the project. A large project, like a 12” bowl, will require a longer anneal time then small project like a 1” pendant.

The fix: consult the glass manufacture’s firing guides and be sure to include the appropriate annealing temp and time in your firing schedule. Here’s the hard part. Don’t peek! Or open the kiln below 1000° until it is at room temperature. I anneal projects that are 12” is size or smaller, made with two layers of glass plus an accent, like the example here at 960° for 40 minutes.

Incompatibility Breaks

Compatibility breaks are really upsetting because they’re so easily avoided. We do our best to sort and organize our glass by COE, but sometimes a mix-up results in a mystery break. Knowing what to look for can save you from having any future accidents.

C.O.E. (Coefficient of Expansion) this refers to the rate at which glass expands and contracts when heated and cooled. Fusing compatible glass has been formulated, manufactured and tested for compatibility. All the glass in a single project must be of the same C.O.E. so they expand and contract at the same rate during firing. If they are not, stress cracks or breakage will result.

A glass incompatibility break usually has more than one crack and it often happens a short time after the fused glass comes out of the kiln. The materials literally repel each other and so the broken pieces are angular and sharp.

The fix: Pay close attention to the manufactures labels, store materials by C.O.E., clearly mark scrap and work with only one family of fusing compatible products at a time. Don’t trust that materials given to you are compatible unless they’re marked as such.

Refusing the glass is not an option. But if you want to feel better, take a hammer to the project. Then use the pieces to make a mosaic or to line the bottom of a fish tank.

The Dreaded Hole

The dreaded hole in the project is caused by heating the glass to fast while firing on a very smooth surface like a primed ceramic self or Thin Fire fiber paper. As the glass is heated the perimeter of the project becomes soft first. It seals to the shelf like a suction cup. The air trapped under the glass expands as it’s heated and pushes up on the glass forming a bubble. The glass bubble becomes thin, it pops and heals over at the full fuse temperature.

You can fill the hole and refuse the glass; however, a blemish will be visible in the new piece. If your design is organic the new detail may add interest. But if your pattern is pictorial, and unless the hole is perfectly located to represent the sun, not so much.

The fix: add a segment to your firing schedule. In the heating phase of my firing schedule I have a hold at 1300 ° for 60 minutes. Holding at this temperature softens the glass in the entire project uniformly. This extra step is well worth the wait as it eliminates inconvenient eruptions and those nasty holes.

Heart-breaks

Fortunately, the fusing spirits grant me many successes and very few mishaps. But every so often, no matter how hard I work, through no fault of my own, a single project or piece seems destined to failure. My general rule it to try to rework or salvage a failed project once and on special rare occasions twice. If at that point I’m not happy with my results I abandon the piece and start over from scratch. Hard earned experience has taught me, additional efforts are a waste of time and resources. My best advice when that happens is, let it go.

Here’s a quick example. I was building a huge 12 foot by 16 foot wall sculpture with 14 fused glass circles ranging in size from 12 inch to 48 inch across. All of the glass was special ordered from Uroboros. It came in a single crate. Five of the circles were made with the same color glass. All of the pieces were fired in the same kiln using the same firing program.

For some unknown reason, one of the five circles broke into two pieces after fusing. It cracked as neatly as an egg. No problem, I re-fired the two broken pieces onto a new, single piece of clear. I opened my big clamshell kiln, when it was at room temperature, the re-fired glass looked great. Happy with the result, I went back to my worktable a few feet away.

It never happened before and hasn’t happened since. I was alone in the studio, just me and my glass.

Out of nowhere, the lid on the clamshell came crashing down. I rushed over to the kiln and opened the lid. No big surprise, the fused glass circle was broken and in two neat pieces again. Dam isn’t the only word I used. My rapid fire expletives would’ve made a sailor blush.

I got even by dumping the uncontrollable pieces in the trash. Nope, I didn’t even trust them in a smaller project. Bye, bye! I made a totally new circle and it’s still intact ten years later.

With luck, this is the first time you’ve been introduced to these various ways that glass can misbehave. Hopefully, you’re now armed with the knowledge to avoid such disappointment.

You can confidently explore more in-depth techniques and more advanced projects.

But for added safekeeping, before closing the lid on my kiln I blow kisses to my darlings. You might try it.

Happy Fusing!

Lisa

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