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Issue #049 - Pebeo Vitrea 160
September 30, 2012
Hot Out of the Kiln
September 30, 2012
It has not cooled off yet in Southern California, in fact it seems to be getting hotter! I have been staying inside with the air conditioner running, but did venture out to purchase some dichroic glass at the Coatings by Sandberg sale. I purchased some of the packets they offer with larger chunks of glass. So far, I have made a couple of pendants for Christmas with these absolutely gorgeous colors. What is on your list to make for Christmas?
I have also been working on the upcoming December issue of the Fused Glass Projects Magazine. Most of the articles have been submitted and I am getting them ready for publication.
Here is a list so far of the authors and articles that will be in the December/Winter magazine:
Thanks to everyone who has written to offer suggestions and comments about how much they have enjoyed this first edition.
I am currently lining up authors for the Spring publication, so if you are interested in getting involved and sharing your projects, please contact me. There is a section for reader comments in the magazine, so drop us a line and let us know what you think about the magazine, articles or authors you would like to read and general comments.
We are also taking applications for advertisements. This is a fantastic way to expose your product, website, blot, or upcoming events with an exclusive audience of glass fusing enthusiasts.
Until next month…keep it hot!
1. Feature Article
2. Quote of the Month
3. Glass Fusing Books and DVDs
4. Reader Responses
5. Tips and Tricks
6. Share the Site
7. What's New
8. Product Review
Pebeo Vitrea 160
Pebeo Vitrea 160 paints are glass paints that are applied to glass and then cured inside a conventional oven. Once painted, the glass cannot be fired inside the kiln. They come in a variety of colors that can be painted on glass using a paint brush. These can also be purchased in pen form and in small tubes for outlining and detailing glass.
After several years of glass fusing, I found some gorgeous cabochons on Ebay. I could tell that the glass had been fused, but could not figure out how they achieved the painting details, until I discovered Pebeo Vitrea paints.
Glass painting is done after you have fused the glass inside a kiln. I generally draw my design on a clear piece of glass using a silver pilot pen and then fire it on a couple of other pieces of glass. I have found that this is about the easiest way to transfer a pattern to my glass.
Once fired and cooled, the image is still visible and ready to paint.
These Pebeo Vitrea 160 cabochons make wonderful gifts and heirlooms. For further instructions on manipulating a photograph or painting the pendant, check out the September issue of the Fused Glass Projects Magazine.
"Go and make interesting mistakes, make amazing mistakes, make glorious and fantastic mistakes. Break rules. Leave the world more interesting for your being here. Make. Good. Art." ~ Neil Gaiman
Have you been wanting to learn the hot craft of glass fusing, but don't know where to begin?
Whether you enjoy watching movies to learn the techniques, or having a book to refer to as you learn, these learning tools will assist you in your progress.
If you don't have access to glass fusing classes, or want to learn some of the techniques that are not generally taught at these instructional settings, look no further.
I am trying to add new and exciting information all the time, and these learning materials are the newest items added to the site to help others learn glass fusing procedures.
To view or purchase any of the DVDs, Books, E-books or Downloadable Movies, click here.
TIP - If downloading any of the downloadable movies, keep in mind that they are very large files.
If you purchase and want to download any of these large files, you might consider using a product like the Free Download Manager.
It is a free product that needs to be downloaded and installed on your computer.
It will increase the download speed and decrease the time required to download the product.
Along with many other artists, I find that one of the most difficult tasks is pricing my work. There seems to be a consensus for the expected price range for paintings and sculpture but the price for glass always seems to take people by surprise. It’s not good to overprice it but I think it’s worse to undervalue it. Although I don’t think that we can force people to appreciate the expertise, work and complexity involved in producing our fused glass artwork, it should be reflected in the price.
The factors I use in my costings are:
Materials, including reasonable wastage from cutting.
Time for production of the piece and the trials
Total power consumption, including studio heating and lighting, kiln and other equipment
Studio overheads such as rent, rates and insurance
Equipment, wear and tear plus safety equipment and consumables
Personal tax and public liability insurance
There has to be a reasonable profit margin applied above these costings and I find that the most difficult to decide. I would appreciate yours and other peoples thoughts on this topic.
Just completed viewing your DVD on things dichroic. I found it to be very educational, lots of good and helpful information in one place. Thank you and congratulations on filling a void in fusing education. Looking forward to more.
a Canadian subscriber
Just wanted to let you know that the Fusion Headquarters link is bad :( Thanks for the great info, I appreciate all the points of view and different ways of working.
Sorry, Margaret! The link for Fusion Headquarters is http://wwwfusionheadquarters.com. Thanks for bringing it to my attention!
Don’t wash thinfire paper off in the sink. Thinfire can clog up the pipes.
Clicking on the "Share this page" button at the bottom of your favorite pages will enable you to come back to your preferred pages and help others find interesting and exciting information.
Please help share the site with others!
Do you have an upcoming event or new product that you would like others to know about? Drop us a quick e-mail and once approved, it will be place in the next e-zine.
Texture pads are used to impress images into fused glass, similar to embossing the glass.
They are coated with kiln wash and then the glass is placed on the pad to be fired inside the kiln.
This is a fantastic idea; however I have only had problems with these pads.
Once coated with kiln wash, I find that the images don’t impress very well, and cause bubbles in my final piece.
Personally, I feel that using fiber board will give the same effect and even better impressions.
If you have had success using these texture pads, please write and share your secrets with others.
Feel free to spread the word about "Hot Out Of The Kiln" on your own blogs, Twitter, Facebook or any of your social bookmarking sites.
And, thank you for signing up for the newsletter. If you know anyone else that might like to receive it please let them know. They can either visit the site and sign up, or send me an email at firstname.lastname@example.org.
Comments? Ideas? Feedback? I would love to hear from you. Just reply to this e-zine and tell me what you think!
See you next month…
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