Sunday, April 21, 2013


(Small Study in Kiln Formed Glass....3.50" x 6.50")

There is no quote associated with today's image, but there is lettering. Today's posting is all about texture and how to create it with the characteristics of line using materials involved with kiln formed glass.

Everything I say today about "line" quality also applies to the mono printed rice papers which will begin tomorrow. In this small study (3.50" x 6.50"), the line work began in conjunction with the application of black glass line paint on clear glass (Tekta). 

After applying the paint with a palette knife, I made some gestural marks in the paint when it was almost dry and with corner of a palette knife. By angling the palette knife, I was able to achieve a thicker line removed from the paint. The paint is not easily removed at this stage without it globbing up a bit, but in my mind that simply adds to the texture. 

Black and orange powders were then applied. You can also see that thinner lines and shapes were also scratched out of the paint. Paying attention to the dilution of the glass line paint is important to achieve a contrast of line or mark making in the paint. It's a combination of both types of line that adds interest to the texture. Crystal Clear powder was sprinkled over the whole sheet since glass line paint fires to a dull finish without powders.

I then composed a two layer collage using Chalky Pink (which also looks like a pale lavender depending on the light) as a base for the collage. This particular glass is a special production and may or may not be available in the future.

After firing this two layer collage which was a square shape (app. 6.50" x 6.50") I decided I didn't like it so I cut it with a glass saw on the diagonal to add a more dynamic division of space. I also added some gold purple and lavender fine frit, but it did not show up after firing. It seems that black and orange eat up other colors.

So the last textural element was the lettering done with a pointed pen using tracing black powder and clove oil. (Leonardt Principal Nib) It was then fired at a temperature not exceeding 1250 degrees. (A higher temperature will cause the lettering to spread out and sometimes dissipate.)

This is just a study for me to reference to look at the way these textures and line work appear together. For those of you who like to used mixed media to practice some possible textures that could be used in your glass work, just pretend that when you brayer out the Speedball Printing Ink and remove parts of it to make your texture....that is the equivalent of removing glass powders to create texture. It is much cheaper to experiment with mono printed rice papers than it is to experiment with glass. And there you have it...just a few more things to think about.

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