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General Discussion / Re: new forum
« Last post by Administrator on March 31, 2019, 07:02:10 PM »
Thanks! I hope it grows as well. I'd appreciate the word of mouth. I've been working on my opal phosphate recipes and combining them with the chalcedony coloration. It's working!!! The addition of opal phosphate white to the spectrum of chalcedony is a great contrast. I will share some results and experiences with this project soon. Lots of other ideas in the works as well. It's always amazing the way one new idea branches into a hundred others.
General Discussion / new forum
« Last post by melted wire on March 28, 2019, 03:06:38 PM »
So I checked out a few times after the drama on the other board came to a head, but it hadn't launched yet.  Just remembered the domain name the other day, and was pleasantly surprised to find this site.  Impressive information so far.  I can only hope that it will attract more folks, and grow into a very useful resource.  Kudos to making it happen!

Maybe we should spread the word a bit, and try to round up some more like minded glass enthusiasts...
Techniques / Videos
« Last post by Administrator on March 02, 2019, 12:37:40 PM »
Going to start a listing here of glassblowing technique videos. First up is a quick cane pick up cup from David Patchen. The source material is from Uroboros so to make these you would not even have to pull your own. Other glass makers also sell small diameter cane for lampworkers. Might be interesting to try a Moretti cane version with 104 COE.

See the video HERE.   8)

As a solo glassworker, I see the difficulty in making this as perfectly square as David. It is important to use the jack blades first to set the sides and then move to the jack handle to square off the top. Takes practice to move quickly between these and keep a good heat.
Techniques / More on stannous fuming
« Last post by Administrator on February 17, 2019, 11:13:07 AM »
I found this little diddy in reading about overlays using stannous fuming.

Eric Miller:

Pete...could one just do an overlay of silver clear and reduce it, then gather over it for a simliar effect?

You will get a good deal of the effect that way. Silver in local reduction will be way too strong at normal concentrations. I would think that silver in oxidation( just put it in clear glass) would then reduce in the gloryhole under a reducing flame. It will be streaky that way but fairly light. it develops as you keep reheating it. You could also fume those same gathers with stannous chloride and case them.

Strontium in tin chloride would yield a reddish fume.

And a little typical VanderLaandian player hating:
"I suggest haunting the Rakow if you plan to go to GAS at Corning. The library is worth the trip alone. Screw the demos."   ::)

This strontium bit is interesting and jumped out at me. While I can't say for sure, it sounds like adding some strontium to a stannous spray will redden the fume. OR if the base glass has strontium the result is red? I'll have to try it. has been noted that other metal chlorides can be used as a metal fuming etch. Iron chloride works and is suppose to give a slightly different color. I've used it but didn't see much change.

Here's another fume spray possibility:
Terry Crider suggests...
Engelhard Corp. in NJ 800-542-6684 has an iron Thermo Luster (amber A 2612) that works great.

Techniques / Peacock Feather
« Last post by Administrator on February 16, 2019, 11:10:10 AM »
Here's a question by Victor Chiarizia: I need to make a piece for a friend that has that tiffany style peacock iridecencent look to it. any ez ways to do it...and how about colors? thanks, vic

Google Image search: Peacock Feather Glass

John Van Koningsveld: Two contrasting silver based glasses, reduced and sprayed with lots of stannous.

Rich Federici:
Brilliant gold (K212) or Iris gold (218) threaded with cobalt blue. These colors produce that look really well. comb with a hooked pick, and spray as John suggests and there you go!

A nice extra element suggested by Eben Horton:

no frit.. use powder. you can go full monty if you make some murrain to simulate the center of the peacock feather... Id use gaffer's black luster for that..

If i was going to do a copy, id use R-218 powder- thread it with copper ruby wrap.. feather it and then apply the murrine.

And finally, a non-fumed version by Charles Friedman:
I have done a roller wrap with two or three colors, with one of them a striking metallic color, like R-215. Then rake up three times and down twice. No fumes.
Batch Recipes / more SP Colors and some for cullet too!
« Last post by Administrator on February 16, 2019, 10:52:23 AM »
Jordan Kube offered this list of recipes given to him by a colleague.

Interesting discussion follows with important insights by Pete in terms of expansion and compatibility; also questions if these were for a 50 lb bag rather than 100 lbs. If you want to use these...perhaps look over some of the other Batch recipes posted here and see how much colorant was used for similar colors.

So I was reading an old thread about melting black and I realized I had some formulas lying around. These were given to me by a guy I worked with who said they were from a class at Pilchuck. I'm
going to copy these word for word. No I've never melted them, don't know anyone who has, can't tell you a thing about them. There aren't any temperatures given. I'm sure Pete will have some advice. Discuss below, Happy Birthday.

Formulas for Spruce Pine Batch per hundred pounds.
Formulated by Mark Joy using 87 plain.
Black: Very good. If too purple add 5% more black iron oxide, cobalt carbonate and 5% less manganese carbonate.

Atmosphere: Oxidizing, can use cullet for faster melt.


56 grams Chrome Oxide
120 grams Soda Ash
65 grams Black Iron Oxide
30 grams Cobalt Carbonate
56 grams Copper Oxide
900 grams Manganese Carbonate OR
500 grams Manganese Oxide
14 grams Nickle Oxide

Blue: Deep but still very transparent

Atmoshere: Oxidizing


100 grams Cobalt Carbonate

Zingy Blue: Blue Green

Atmosphere: Oxidizing


120 grams Manganese Oxide
50 grams Cobalt Carbonate
30 Grams Nickle Oxide


Atmosphere: Oxidizing


500 grams Manganese Carbonate
40 grams Cobalt Carbonate


Atmosphere: Oxidizing


1000 grams Manganese Carbonate

Blue Green: Cool. Strong deep color.

Atmosphere: Oxidizing


150 grams Black Copper Oxide
70 grams Chrome Oxide
70 grams Black Iron Oxide

Lime Yellow: Incredible.

Atmosphere: Neutral. Melt with fritted cullet, use quickly.


114 grams Uranium Oxide

Pale Green

Atmosphere: Oxidizing


150 grams Black Iron Oxide
50 grams Chrome Oxide

Copper Red: Strikes at 26 hours. Cranberry after 50 hours(run directly after Silver Blue)

Atmosphere: Reducing


150 grams Tin Oxide
75 grams Red Copper
42 grams Cream of Tarter

Silver Red: Slight reduction in melt and while working more striking when surface is worked.

Atmosphere: Reducing


250 grams Tin Oxide
60 grams Red Copper Oxide
120 grams Silver Nitrate
40 grams Cream of Tarter

Silver Blue: Same as Silver Red. Run this color then run Copper Red.

Atmosphere: Reducing


150 grams Cobalt Carbonate
130 grams Silver Nitrate
150 grams Tin Oxide
120 grams Soda Ash
30 grams Cream of Tarter

Techniques / Pineapple mold
« Last post by Administrator on February 13, 2019, 09:43:57 AM »
I've been playing with this so referred back to this info:

Pete: lay in hot and suck back every so slightly before you pull the piece.

Kenny Pieper: Use a pipe with a pretty good size head and don't let the head of the pipe get too hot. Pete is right in that the glass should be good and hot going in and don't stay in long. You want to use that original heat as much as possible. The more you reheat after going in the mold the more the optics will melt out. If the pipe head is hot going in and the mold cools the glass then you have the glass around the pipe head hotter than anywhere else. Not a good situation.

Similar for Eben Horton: never ever ever give your glass a deep re-heat before you go into the mold.. I always give my moil a little marver to cool it and heat just inside the door before i stamp it into the mold. hit and run..... do not linger in the mold, as that's a big culprit for getting stuck.

And then lots of advice for getting stuck glass out...I will keep these anonymous here  ;)

If you get stuck, throw the entire mold into a bucket of cold water, let it cool down, and use an air gun to blow out the fritted chunks,the more psi the better it works.

After it is cool take a hot bit to the glass stuck in the mold. It will pop free. Please don't use the chisel.
Techniques / Threading Colors and Advice
« Last post by Administrator on February 12, 2019, 11:20:15 AM »
Here's some tips from Ken Peterson:
I've found that coating the piece with a soft powder then trailing works well. It holds the trail together and keeps it from spreading. That also allows for chemical reactions. In true hippie fashion, try....... iris gold powder + cu ruby trail, or IG powder + red opaque trail, or IG powder + amber trail. If the trails are tight enough and you manipulate the surface enough you can get some really clean results. Groovy........

Want metallic dots? Put the parison in an optic before threading to get the effect.

Try these...Thank Jeff Hoover for this list:

I think I've used:
K-103 Silver Green (Reduces)
K-105 Silver Blue (Reduces)
K-44 Silver Dark Blue (Reduces)

Some other trans that reduce:
K-107 Sliver Amethyst (Reduces)
Q-136 Iris Green (Reduces)
Q-144 Iris Dark Blue (Reduces)
Q-145 Iris Blue (Reduces)
Q-217 Iris Gold (Reduces)

Some opaque reducing colors that might be good:
Q-54 Extra Dense Black (Reduces)
Q-92 Night Blue (Reduces)
Q-95 Opal Black (Reduces)
CraftWeb Rants / Let's bully a student!
« Last post by Administrator on February 11, 2019, 12:39:08 PM »
Bradley Howes recently visited the forum with questions about making calcedony glass. Bradley is an undergrad at Alfred University. Here is his summary sentence:
"I understand calcedony is a fickle color but I'd like to know if there's anything I can do to influence it in future melts."

Reasonable. After just a few runs with trying to make this color he has come to the same conclusion as Pete who likes to use the phrase "hurding cats" to describe calcedony glass. I've done a fraction of Pete's melts but completely agree.

So, why did Pete get so worked up that he decided to throw out this dagger:

"Buy some books. There are a number out there with formulas. They are roadmaps if you can read them. Helmer, Thuringen , Weyl, Volf. Then, get rid of the statement you make at the bottom of your post until you actually deserve to make it. I try my best every day but I don't talk that way."

Holy shit! What a hemorrhoid! Pete, this is a 18-20 year old kid just getting started. Be helpful and encouraging not a raging lunatic. You may think you have learned the curmudgeon skills of Ed Skeels but Ed was genuine. You are random and just angry. There is something here that struck a nasty cord. Did you not get to go to Alfred. Do you feel lessened by the educated Elite? Hell, Bradley even apologized. For what, I'm not sure...the use of the work fickle? This glass is fickle!!! Deserve to make a statement. WOW. I didn't know that someone anointed Pete the decider of such things.

Has Mr Vanderlaan ever taken a moment to consider just how lucky he has been in terms of timing. He fell into the studio glass movement. People were sharing knowledge. It was a MOVEMENT for Christ's sake. He's like one of the shit for brains who lived through Woodstock and still complains about the rain or bemoans the fact that he didn't make any money off it. I've never had access to piles of colored cullet from the old Appellation factories. I've never walked into Pilchuck and seen Dante, Lino, Billy Morris and others having a god-damned glass equivalent of a jam session. GAS was a party among friends and now it's a freaking business convention. You were given a gift asshole and you can't even see it.

It's just glass.  ;)
CraftWeb Rants / It's just glass...
« Last post by Administrator on February 11, 2019, 12:08:03 PM »
This is a saying I go back to when my muscles start to tighten and heart rate starts rising due to the ups and downs of glassblowing. I recall it was spoken to me by a very good young glassblower who seemed to have ice water flowing through his veins. He realized early on that to blow glass well was to be in the moment. Anxiety and judgement pulls you right out of that necessary mindset of understanding this wonderful medium.

But let's also see glass for what it is. It's not going to save anyone's life. It's not moving us forward as a society. It's has little benefit for humanity beyond looking nice and perhaps at its best might inspire momentary joy. The...wish I could do that feeling. I'm not going to even touch the carbon footprint issue which is NOT pretty.

So when I read Pete Vanderlaan get so serious about his and other batch engineers? mixmasters? glass bakers? ownership of glass formulas I have to shake my head and sigh. It's just glass.

When I was a young man I really liked to play golf. I had a strong work ethic that needed a direction and golf was challenging enough to satisfy my itch. I was watching a broadcast in which Jack Nicklaus was describing the details of putting a specific green. He went into such a incredible detail about the type of grass, the time of year, the recent weather, etc that I suddenly realized that this man had dedicated his life and intellect to something fairly meaningless. His success will be mentioned long after I am long forgotten but for what? I focused harder on college and tried to learn about things that could be considered important.

Glass is not important. The work we do and the trials we suffer are only important to you and your family and your client. To many, that is enough. Perhaps this is not easy to swallow but in reality I believe we are probably doing more harm than good. That's a long distance few of something that I absolutely love to do. I only get one life and this is something I am going to do. But please don't make statements about how great glass is and has been. Our greatest ambassador was a man who did not even make his own work. He thought so much of the medium that he tried to replace it with a plastic material.

Here is a recent post that annoyed me:
What I can't let the color issues, or clear formula issues devolve into is exposure of the initial formulas done by people who in fact wrote them and don't want to see them published more. While there is water over the dam, it doesn't mean I have an obligation to allow that to continue. It indeed does make the board less interesting in an "Aha" sort of moment.

In the same forum Pete argues that people should mix their own glass yet wants to prevent anyone from the resources to do so. It also eliminates the need for the potential glass makers to need him either in terms of Craftweb or future classes.

Here's a short version of something he has also said...
At this stage, I doubt I will do a book since the economics just don't work.

Money Money Money Money...The Apprentice theme song starts playing. It's just glass. 
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