Learn about ancient iridized glass and a method for creating iridized glass surfaces. This video was featured in the exhibit Reflecting Antiquity  at The Corning Museum of Glass, February 15 through May 27, 2008. Note: the method portrayed uses stannous chloride fumes, which can be highly toxic. Do

While glass canes can be used alone, for example as stirring rods, usually they are incorporated in vessels or sculpture. An infinite variety of decoration is possible. Here we see two examples that are intended to be viewed from the side.

Here is virtuoso Venetian-style glassblowing "without a net." One mistake and all is lost! Where "making a goblet from parts" allows mistakes to be isolated and destroyed, this process moves relentlessly forward, allowing no retakes.

Popular among glass artists today, as it was in the golden age of Greece and the Roman Empire, this technique softens and shapes glass in a kiln. Various preparatory steps are shown in the making of a contemporary sculpture.

It could have been so simple... but it wasn't! Until recent times (about 1800), permanent enamels had to be fired on glass vessels by an amazingly laborious process, shown here. Today, the process really is as easy as it looks.

See what really sets glass apart from metal and then begin to understand why humans have invented such odd ways of shaping it while hot: core-forming, fusing, slumping, and—oddest of all—glassblowing.

Discover the history and process of glass blowing with experts at the Corning Museum of Glass.

Arguably the most beautiful medieval glass vessel to survive, this goblet is also original. It is probably the invention of one glassblower who took the secret of its manufacture to his grave. See this extraordinarily elegant process, not rediscovered until the 20th century.

Liquid Fusion: Glass Design Workshop is an annual workshop CMoG conducts with the Vitra Museum at Domain de Boisbuchet, in Lessac, France. Film by Deidi von Schaewen, editing by Giona Messina.

This was the common method of making small glass vessels from around 1500 BC until the discovery of glassblowing. Dung, clay, and glass came together in a seemingly odd process that was indispensable for more than a millennium and a half.

Tom Patti explains his unique approach to working with glass. Voices of Contemporary Glass: The Heineman Collection at The Corning Museum of Glass, May 16, 2009 through January 2, 2011.

A Collaboration of The Corning Museum of Glass + Vitra Design Museum. GlassLab brings the ancient processes and skills of glassmaking together with creative and innovative minds in the design world. Contemporary designers, working with Corning Museum of Glass glassmakers in a unique mobile hot

Artists have proven that glass as a medium for sculpture is virtually without limits. Among hot-working processes, flameworking allows the greatest detail and the smallest scale. Surprisingly though, it can also be used to create sculpture large enough to fill rooms.

Encasing glass decorations and small-scale sculpture within a mass of molten colorless glass to make paperweights began in the 1840s. It continues to be practiced by a limited number of specialized glass artists.

A technique unique to glass, air twist requires very high quality material for success. When sparkling lead crystal became common in 18th-century England, the air twist technique spread rapidly.

By about AD 20, Roman workers had discovered that a bubble of molten glass could be lowered into a mold and then further inflated to fill the mold. In this way, the full-size vessel, complete with elaborate decoration, was made almost instantly.

Learn about Gold Glass from Ancient Rome, and also, how to make gold glass today. This video was featured in the exhibit Reflecting Antiquity  at The Corning Museum of Glass, February 15- May 27, 2008.

Hot-working processes used to form a glass object—glassblowing for example—must be followed by a very gradual cooling period called annealing. See what happens when an object is not properly annealed and learn why it breaks.

Alternately using different colored glasses, plunged into different shaped dip molds, to build up a variety of layers, a stout cane is drawn. When the cane is cut, the pattern is revealed at the cross-section.

Designer Wendell Castle prototypes a design for martini glasses and pitcher set on GlassLab at the Vitra Design Museum during Art Basel 2010.

This video shows the technique of making a kuttrolf, an object in the exhibition Medieval Glass for Popes, Princes, and Peasants, on view at The Corning Museum of Glass from May 15, 2010, to January 2, 2011.

GlassLab is a program from The Corning Museum of Glass that introduces designers to glass as a means to immediately prototype designs in front of a live audience. During Art Basel in June, 2011, GlassLab presented at the Vitra Design Museum. Designer Paul Cocksedge designed an interactive glass

This video shows the technique of making a medieval goblet, an object in the exhibition Medieval Glass for Popes, Princes, and Peasants, on view at The Corning Museum of Glass May 15, 2010, to January 2, 2011.

Some of the first glassblowers working in Italy—perhaps as early as 30 BC—made blanks for craftspeople accustomed to decorating hardstone objects. The glassblowing process required two contrasting glasses, usually blue and white.

Michal Fronek from Olgoj Chorchoj glass studio in the Czech Republic works at GlassLab at the Vitra Design Museum in June 2010 during Art Basel.

Essentially the same as lathe cutting, the engraving lathe is generally used for small-scale projects often involving the creation of extremely fine details, such as the eyelashes on a portrait.

Benjamin Franklin invented this strange musical instrument. It was popular in the late 18th century. Sounds were made by running moistened fingers along the rims of the glasses. Some people were afraid that this strange music would drive them crazy.

Glass furniture like this table was very popular in India. European glassmakers maintained showrooms that were filled with chandeliers, tables, and chairs for sale to kings and princes.

Sigi Moeslinger at GlassLab at the Cooper-Hewitt, National Design Museum, May 17-June 3, 2008. A program of The Corning Museum of Glass, GlassLab brings designers together with glassmakers to offer them rare access to experimenting with hot glass and prototyping their design concepts.

Listen as curator Dedo von Kerssenbrock-Krosigk describes this tazza with Medici Arms. This tazza is enameled with the coat of arms of the Medici family combined with crossed keys and a papal tiara, suggesting that they were made for a member of the church, most probably either Pope Leo X or Pope