All About Glass
All About Glass
This is your resource for exploring various topics in glass: delve deeper with this collection of articles, multimedia, and virtual books all about glass. Content is frequently added to the area, so check back for new items. If you have a topic you'd like to see covered, send us your suggestion. If you have a specific question, Ask a Librarian at our Rakow Research Library.
The Corning Museum of Glass recently hosted guest glassmakers Helena Welling and Juha Saarikko. Both gaffers are visiting from the Iittala factory in Finland for a celebration of renowned designer Oiva Toikka’s glass birds. Since the first birds entered production in 1972, Birds by Toikka has
Learn about how glass is colored with Corning Museum of Glass experts. Colored glass is made by adding small amounts of metal oxides to the batch.
Watch Davide Fuin as he demonstrates for his class, Advanced Venetian Glassblowing, where he shares his vast knowledge and considerable Venetian-style glassblowing skills.
Watch Tim Drier demonstrate for his class, Introduction to Flameworking, how to embark on an evolution through glassmaking, beginning with marbles (single cell), through fungus, aquatics, and small land mammals, ending with the human form.
It doesn't get more complicated than this! Here is the Renaissance Venetian way of making an ornate dragon-stemmed goblet. Pre-made parts are attached using small bits of molten glass as "glue."
This video shows the technique of making a Façon de Venise (a French term meaning "manner, or style, of Venice") goblet, an object in the exhibition Beyond Venice: Glass in Venetian Style 1500-1750, which was on view at The Corning Museum of Glass from May 20, 2004, to January 2, 2005.
This video shows the technique of making a Spanish wine glass, an object in the exhibition Beyond Venice: Glass in Venetian Style 1500-1750, which was on view at The Corning Museum of Glass from May 20, 2004, to January 2, 2005.
This video shows the technique of making a St. Augustin (Rouen) Goblet, an object in the exhibition Beyond Venice: Glass in Venetian Style 1500-1750, which was on view at The Corning Museum of Glass from May 20, 2004, to January 2, 2005.
Glassworkers made ring-shaped decanters as early as the Roman period. Due to their novel shape, much like buoys, the personal flotation devices carried on ships, decanters in the early 20th century were called "lifebuoy decanters." Watch as William Gudenrath demonstrates the technique.
Glass makers throughout history have gone to great lengths to eliminate all bubbles from glass. But here, we see bubbles purposefully put into the glass for their decorative effect. In this paperweight, the bubbles surround another gather of glass with twisted canes of colored glass. Watch as
Glass that gradually shades from one color to another has ingredients such as uranium and gold, which are sensitive to heat. When part of the object is reheated, it "strikes" or changes color. Heat-sensitive glass became very popular in the late 19th century. Many companies used heat
Watch as William Gudenrath demonstrates the Reticello technique. Reticello (Italian, "glass with a small network"), is a type of blown glass made with canes organized in a crisscross pattern to form a fine net, which may contain tiny air traps.
In the second half of the 19th century, many glass firms used experimental techniques to create decorative art glass. In 1878, the Mt. Washington glass company introduced Sicilian glass. As part of their marketing, the company claimed to have used lava, that is, molten rock spewed out by volcanoes,
In the 1930s, the Pairpoint Glass Corporation introduced a bold new design called "twist glass," consisting of swirled stripes of ruby or deep blue glass and clear crystal. The complicated technique, already used in Sweden, required many stages including cold working. Watch as William
British artist Clare Twomey works with clay in large-scale installations, sculpture and site-specific works. Watch as she partners with the Hot Glass Team in this demonstration.
This clip is from an interview with Jerry Kersting, retired engineer for Corning, Inc., interviewed May 2010. Jerry Kersting was born in Jersey City, N.J., in 1939. He attended Rutgers University where he obtained a degree in civil engineering for the Facilities Group. In 1960, after spending a
Watch as Jordana Korsen demonstrates for her class, Work Hot and Take Chances, which focused on everything from glasses and goblets to bowls and bottles. Music credit: Philipp Weigl- Subdivision of the Masses
When you try to fill this glass with liquid, some of the tubes and bulbs remain empty. If you try to drink from the glass, the air in the tubes makes the liquid gush out when you least expect it.
Listen as curator, David Whitehouse describes the stages of making a paperweight.
This video shows the technique of making a Nuremburg goblet, an object in the exhibition Beyond Venice: Glass in Venetian Style 1500--1750, which was on view at The Corning Museum of Glass from May 20, 2004, to January 2, 2005.
Watch artists Ralph Mossman and Mary Mullaney of Heron Glass demonstrate at The Studio during the Annual Seminar on Glass. This demonstration shows the various stages of creating a Chevron bead, from the hot, blown glass component, through the lapidary steps required to finish.
This 6-minute version of a Chevron bead demonstration, narrated by William Gudenrath, shows the various stages of creating a Chevron bead, from the hot, blown glass component, through the lapidary steps required to finish.
Listen as former curator David Whitehouse describes the Corning Ewer, an outstanding example of Islamic relief-cut cameo glass. A layer of transparent light green glass was applied to a layer of colorless glass. Most of the outer layer was then cut away, leaving the decoration in relief. Although
April 2010 Artist-in-Residence Eliza Au used the lost wax casting method to create a delicate glass prayer rug, meant to reflect the fragility of religion and belief. Much of her work is influenced by Gothic wrought-iron fences or Islamic tile and textile patterns.
"My initial relationship to the arts would probably be observation. Watching things change, watching things grow." Amie Laird McNeel came to The Studio of The Corning Museum of Glass as part of the joint Artists-in-Residence partnership with the John Michael Kohler Arts Center. A
"I want the viewer to expereince the process of blurring boundaries between cultures by looking at my work." Min Jeong Song studies ornamental styles across time periods and geography, and her work explores how certain attributes of glass can be used to create ambivalent objects: objects
"In my work, very often, it is good to take a second look." A Berlin-based artist, Veronika Beckh has exhibited extensively in the United States and Europe. Her work invites viewers to disconnect from the noise and chaos of everyday life and to find light, tranquility, and contemplation.
Mathieu Grodet is a French-born artist living and working in Canada. He creates thin and elegant glass objects in classic Venetian style, engraved with imagery that addresses modern-day ideas and issues. In his March 2012 Residency at The Studio, Grodet used the Museum's Rakow Library to
Mielle Riggie works with both the strength and fragility of glass to illustrate the dynamics of human emotion or conditions. During her residency at The Studio, Riggie created cast-glass sculpture amplifying elements in nature, such as leaves and roots, and recombined disparate parts in ways that
April 2010 Artist-in-Residence Marie Retpen was hot working large pieces that would eventually become part of a large installation. She finds inspiration for her surreal works from the novels Alice in Wonderland and Alice Through the Looking Glass, and the movie The Terminator.