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THE GLASS BLOWING PROCESS
Rene' has gathered glass and color and turns the pipe in th Glory Hole
There will be many trips back and forth to the Glory Hole because the
glass needs to be kept above 1000⁰ F.
Adding Color to Art Glass
Next, it’s time to add color to the piece. Various forms of colored glass
such as powders, frits and bars are used to create varied patterns
and designs in the piece. The artist takes the heated glass on the
blow pipe and rolls it over the color, picking up pieces with each roll.
Then, it’s back to the Glory Hole where the colored glass is heated to
melt into the clear. Again, the glass blower keeps turning the pipe to
keep the shape at the end of the pole.
glass needs to be kept above 1000⁰ F.
Adding Color to Art Glass
Next, it’s time to add color to the piece. Various forms of colored glass
such as powders, frits and bars are used to create varied patterns
and designs in the piece. The artist takes the heated glass on the
blow pipe and rolls it over the color, picking up pieces with each roll.
Then, it’s back to the Glory Hole where the colored glass is heated to
melt into the clear. Again, the glass blower keeps turning the pipe to
keep the shape at the end of the pole.
An art glass studio is filled with “hot stuff.” There is a furnace
in which clear glass is melted. The glass is held inside a
crucible, pictured at the right. There is a “Glory Hole” where
the glass blower forms his or her work; an oven that keeps
pipes and punties hot; and an annealing oven to slowly cool
down finished work.
A piece begins when the glass blower reaches inside the
furnace and into the crucible that is filled with clear, melted
glass and “gathers” a layer of molten glass on the end of a
steel blow pipe. The artist then rolls the molten glass on a
steel table called a marver to give it a cylindrical shape. The
glass is then heated in the glory hole – all the while the artist
is turning the blow pipe and keeping it in constant motion.
in which clear glass is melted. The glass is held inside a
crucible, pictured at the right. There is a “Glory Hole” where
the glass blower forms his or her work; an oven that keeps
pipes and punties hot; and an annealing oven to slowly cool
down finished work.
A piece begins when the glass blower reaches inside the
furnace and into the crucible that is filled with clear, melted
glass and “gathers” a layer of molten glass on the end of a
steel blow pipe. The artist then rolls the molten glass on a
steel table called a marver to give it a cylindrical shape. The
glass is then heated in the glory hole – all the while the artist
is turning the blow pipe and keeping it in constant motion.
This empty crucible is filled with
clear glass and sits inside a
furnace
clear glass and sits inside a
furnace
The glass blower sits and rests the pipe on the steel “arms” of the bench and turns it with one hand. With the other hand the artist
uses tools such as cherry wood blocks, wet newspaper, wooden paddles and tools made of stainless steel. This process requires
perfect coordination between right and left hands. The artist may be shaping a round piece, an oval, or intend to make a wide open
plate or bowl. Sitting at the bench is where she determines the shape.
uses tools such as cherry wood blocks, wet newspaper, wooden paddles and tools made of stainless steel. This process requires
perfect coordination between right and left hands. The artist may be shaping a round piece, an oval, or intend to make a wide open
plate or bowl. Sitting at the bench is where she determines the shape.
Seated at the bench Rene' holds the cherry wood
block and turns the pipe with the other.
block and turns the pipe with the other.
The artist may decide to add more clear
glass or color. The process of heating
and turning in the Glory Hole and shaping
at the bench will be repeated many times.
Blowing into the Pipe
The actual blowing begins. It starts with a
puff on the end of the blow pipe to create
a bubble. Then it’s back to the Glory Hole
for more heating and turning. And back to
the bench for more shaping. This cycle
gets repeated many times, depending on
the size and shape desired by the artist.
glass or color. The process of heating
and turning in the Glory Hole and shaping
at the bench will be repeated many times.
Blowing into the Pipe
The actual blowing begins. It starts with a
puff on the end of the blow pipe to create
a bubble. Then it’s back to the Glory Hole
for more heating and turning. And back to
the bench for more shaping. This cycle
gets repeated many times, depending on
the size and shape desired by the artist.
Close-up of the wood bowl as a student gets help
moving it
moving it
Once the shape is satisfactory, the piece has to be transferred to a “punty” – another steel
pipe that’s been heating over flames. Moving the piece from the blow pipe to the punty will
make it possible for the artist to create the opening of the vase or the bowl. The punty will
be attached to what will become the bottom of the piece..
pipe that’s been heating over flames. Moving the piece from the blow pipe to the punty will
make it possible for the artist to create the opening of the vase or the bowl. The punty will
be attached to what will become the bottom of the piece..
The artist – or an assistant – takes a small gather of
clear glass from the furnace. As the glass blower
seated at the bench briefly stops turning the piece,
the punty with the molten glass is attached to the
other end. At the right moment, the artist “raps” the
blow pipe and it breaks away, leaving the piece
attached to the Punty. This is a tricky step in the
process and the transfer sometimes results in a
dropped piece. Since glass is hard to “rescue” that
usually means starting all over!
clear glass from the furnace. As the glass blower
seated at the bench briefly stops turning the piece,
the punty with the molten glass is attached to the
other end. At the right moment, the artist “raps” the
blow pipe and it breaks away, leaving the piece
attached to the Punty. This is a tricky step in the
process and the transfer sometimes results in a
dropped piece. Since glass is hard to “rescue” that
usually means starting all over!
Punties are long rods that are heated and
attached to the bottom of a piece. They let the
artist work on the mouth of the piece.
attached to the bottom of a piece. They let the
artist work on the mouth of the piece.
Gabe Dart, one of Rene's young students,
blows a puff of air into a piece to make the
bubble. Even while blowing he tries to turn
the piece.
blows a puff of air into a piece to make the
bubble. Even while blowing he tries to turn
the piece.
The piece on the punty is again heated in the Glory Hole. Then the blower
returns to the bench and uses a variety of tools to create the mouth of a
vase or to open up a vessel. He or she will use the heat in the Glory Hole to
to make changes in the shape of the piece using other tools at the bench.
When the glass blower is satisfied, it’s time to remove the piece from the
punty. The blower then takes the punty and hits it firmly so that the piece
drops off into a box that is filled with thick layers of fire blanket. The blower
then takes the punty and hits it firmly so that the piece drops off into a box
that is filled with thick layers of fire blanket.
returns to the bench and uses a variety of tools to create the mouth of a
vase or to open up a vessel. He or she will use the heat in the Glory Hole to
to make changes in the shape of the piece using other tools at the bench.
When the glass blower is satisfied, it’s time to remove the piece from the
punty. The blower then takes the punty and hits it firmly so that the piece
drops off into a box that is filled with thick layers of fire blanket. The blower
then takes the punty and hits it firmly so that the piece drops off into a box
that is filled with thick layers of fire blanket.
A punty is attached to the bottom of the piece before it is broken
off the blow pipe.
off the blow pipe.
Using Kevlar gloves, the artist picks up the scorching-hot piece and quickly transfers it to an annealing oven. This oven is kept
at 960⁰F and then cooled down over a period of 14 hours to room temperature. This slow cooling down is to prevent the piece
from cracking or breaking – although glass blowers sometimes get a few unhappy surprises when they open the oven the next
day.
Finally, if needed, the artist grinds down the bottom of the piece to eliminate the sharp edges that were left when the piece was
knocked off the punty.
at 960⁰F and then cooled down over a period of 14 hours to room temperature. This slow cooling down is to prevent the piece
from cracking or breaking – although glass blowers sometimes get a few unhappy surprises when they open the oven the next
day.
Finally, if needed, the artist grinds down the bottom of the piece to eliminate the sharp edges that were left when the piece was
knocked off the punty.
Glass blowing requires extreme patience, tenacity and dexterity. That
said, people of all ages and many physical abilities (including people
confined to wheelchairs) have learned to blow glass and delight in its
magic.
said, people of all ages and many physical abilities (including people
confined to wheelchairs) have learned to blow glass and delight in its
magic.
| Glory Hole A-Glow |
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© Darby Patterson, 2008
Equipment
Constant Motion
Tricky Transfer to the Punty
Into the Annealing Oven to Cool
Opening Up the Piece
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