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.
Brill, Robert H. others Ars Orientalis v. 11, 1979, pp. 87-109 AI9443 ill. Also available online in the Science Research database, full text. CitationDB A49A6588-D4C7-481C-974C-6598A1666408.pdf Glass
Koob, S. P. Brill, R. H. Thimme, D. Archaeological Conservation and Its Consequences, London: The International Institute for Conservation of Historic and Artistic Works, 1996, pp. 105-110, ill. AI1407 Additional info: Preprints of the Contributions to the Copenhagen Congress, Aug. 26-30, 1996.
Glassmakers use a tool called a pi divider for cane pick-ups and roll-ups. One end of the tool is the measurement of the circumference of a circle, and the other end is the measurement of the diameter. The length of the cane is equal to the circumference of the circle, which is divided by π to
The Botanical Wonders exhibition celebrates the singular triumph of glassmakers Leopold Blaschka (1822-1895) and his son Rudolf (1857-1939) and offers close-ups of the people and the craft process behind the Glass Flowers. David Whitehouse narrates. "Botanical Wonders: The Story of the Harvard
Try glassblowing at The Corning Museum of Glass (any age if accompanied by an adult).
Watch as Mark Matthews demonstrates for his class, Graphic and Color Systems in Glass, which focused on freehand use of colored rods, powders, frits, and techniques such as color overlaying and cane making, to create combinations of graphic patterns and experiment with integrated color schemes.
In this video, a crimp-edge molding tool sandwiches the glass between a solid form on the inside and metal jaws on the outside to create a quatrefoil shape. This technique would be the last step in the making of a quatrefoil goblet. See 360˚ photography and learn more about this object in The
This goblet is made using mezza-stampatura, also known as mezza-forma (Italian, “half mold”). With this technique, vertical ribs are made on the lower part of a blown object by inflating the bottom half of the parison into a dip mold. The goblet shown in this video is decorated with gilding and
This video shows the making of a reticello platter with a folded edge. Learn more about this object in The Techniques of Renaissance Venetian Glassworking by William Gudenrath http://renvenetian.cmog.org/object/reticello-platter The Venetian glass industry enjoyed a golden age during the
A dragon-stem goblet has many parts, including a bowl, a foot, and a dragon. Dip molding is used to create the dragon, and the parts are attached with glue bits. This goblet has pincered bits, a merese, an avolio, wings, and eyes. See 360˚ photography and learn more about this object in The
The Verre des Augustins, made in France in the late 14th century and now housed in the Musée Départemental des Antiquités in Rouen, is arguably the most beautiful goblet made in western Europe before the Renaissance. The manner in which it was made—particularly the construction of its stem—was
A goblet—bowl, foot, and stem—is made on the blowpipe in this video. Learn more in The Techniques of Renaissance Venetian Glassworking by William Gudenrath http://renvenetian.cmog.org/chapter/comparative-table-differences-betwee... The Venetian glass industry enjoyed a golden age during the
In this video, a goblet is made using a technique that was employed in the 19th century and later. The stem and foot are made first, then set aside. Eventually, they are added to the cup with glue bits. Learn more in The Techniques of Renaissance Venetian Glassworking by William Gudenrath http:/
The five phases of creating a goblet, and many options, are shown in this video. Learn more in The Techniques of Renaissance Venetian Glassworking by William Gudenrath http://renvenetian.cmog.org/chapter/introduction-how-use-online-resource The Venetian glass industry enjoyed a golden age during
The making of a small glass tube begins with the pulling of molten glass to form a tube. The tube is then reheated with a torch, the end is closed, and air is blown to create a small bubble. Learn more in The Techniques of Renaissance Venetian Glassworking by William Gudenrath http://renvenetian
This video shows the making of the Ein Gedi bottle, which is dated to the mid-first century B.C. It is now in The Israel Museum, Jerusalem. Learn more in The Techniques of Renaissance Venetian Glassworking by William Gudenrath http://renvenetian.cmog.org/chapter/later-first-century-bc-evidence The
The small bottle shown in this video is made with bands of color. Learn more in The Techniques of Renaissance Venetian Glassworking by William Gudenrath http://renvenetian.cmog.org/chapter/later-first-century-bc-evidence The Venetian glass industry enjoyed a golden age during the Renaissance. By
Watch as Grant Garmezy demonstrates making a large reptile head for his class, Sparking Life Into Glass, which focused on special techniques and approaches to solid and blown sculpting https://www.cmog.org/event/live-streamed-studio-demonstration-grant-garmezy Raised on a farm outside of Nashville,
Watch as Amanda Gundy demonstrates for her class, Next Steps in Glassblowing: In Living Color, a class for beginning students who are ready to focus on technique and problem solving. Amanda Gundy began working with hot glass in 2004 after graduating college with a degree in photography. Immediately
November's 2300° event featured artist Jaime Guerrero who joined the Hot Glass Demo team in the Amphitheater Hot Shop for his demonstration titled Refugees and Pin~atas. Larkin Poe, an edgy folk-rock band formed by Atlanta-based sisters Megan and Rebecca, brought their high energy and
Watch as Giles Bettison demonstrates for his class, Looking at Patterns and Murrine, which will focus on building patterns using sheet glass to make murrine cane that can then be used in vessels, panels and other objects.
You might not look at glass and candy and think they have similar properties, but Yuka Otani does. “Those two materials share many characteristics,” she says. “But what if they are made into a unified object?” During her artist residency at The Studio of The Corning Museum of Glass, Otani created a
Kristina Logan is internationally recognized for her precisely patterned and delicate glass beads, which she combines with metalwork to create both jewelry and functional objects. A committed educator, Logan travels extensively, teaching workshops and lecturing on contemporary glass beads and
Watch as Kristina Logan demonstrates beadmaking during her Beadmaking: Expanding Your Skills class at The Studio. Logan's week-long course focuses on a broad spectrum of techniques: surface decorations, dots galore, clear casing, working large beads, and troubleshooting common mistakes and
Kristina Logan is internationally recognized for her precisely patterned, delicate glass beads, which she combines with metalwork to create jewelry and functional objects. In the Master Class video, Logan demonstrates her process of beadmaking at the torch, finishing the glass by cold-working, and
With a material as fragile and unpredictable as glass, artists need to be flexible—and it’s exactly that flexibility that intrigues Justin Ginsberg. A visual artist, Ginsberg investigates the “unusual properties” of glass, and its “extraordinary ability to flex and bend when made very thin.” His
Watch as Martin Janecky demonstrates for his class, Blowing and Sculpting Inside the Bubble, which focused on unique techniques and approaches to solid and blown sculpting.
Watch Studio instructor, Martin Janecky, demonstrate hot sculpting for his class, Blowing and Sculpting Inside the Bubble in June 2011.
Watch Martin Janecky demonstrate for his class, Blowing and Sculpting Inside the Bubble, on August 21, 2013.
See photos of the final piece out of the annealer. Watch as Martin Janecky demonstrates sculpting a large horse head for his class, Blowing and Sculpting Inside the Bubble, which focused on unique techniques and approaches to solid and blown sculpting from within the bubble.