glass blowing process

The final step is to remove the glass from the glass pipe. The marver (steel table) is used to shape and cool the sides and bottom of the bubble.

Since hot glass easily sticks to hot glass, when I roll my collar across the edge of the pattern they immediately stick together and I roll up the sheet onto the collar. I slowly inflate it, carefully watching how it's behaving and get it ready to really blow and stretch into the shape I desire. After dipping the bubble in molten glass ('encasing') I come out of the furnace and 'strip off' a bit of liquid glass to even out the gather.

While the molten glass bulb is still hot and pliable, the glass blower places it into a mold and blows through a connected tube until the glass takes on the shape of the mold. ...and the piece breaks cleanly off the pipe. Before starting the glass blowing process, the glass is placed in a furnace that heats it to a temperature of 2000 degrees, making it malleable.

Thanks to the separation with the jacks, the glass can be removed from the blowpipe with one solid tap.

Two days after blowing the work, it comes out of the annealer at room temperature and Finishing begins, which completes the work.

Next, the glass is gathered by inserting one end of the blowpipe into the furnace, and rolling it over the molten glass until a “gob” of glass attaches to it. Heating the punty and bottom of the piece is important to help balance the temperatures before it's put in the annealer to cool. Michael now quickly brings it to the glory hole to heat the lip. The batch is put in the furnace and melted to form molten liquid glass. The glass is the consistency of honey. As the cane and murrine is heated, the hundred or so individual pieces soften. | Crafted by FMK Agency, Join us for a Glass Weekend With Rob Stern, “In Dialogue with Nature” featured in Sarasota Observer. Then, the glass artist has to blow into the blowpipe while rotating it at the same time. To give the glass color and design, it’s dipped in crushed colored glass, which fuses to the main glass piece almost immediately due to the hot temperature. When I'm ready to blow the piece, the finished design is pre-heated in a kiln, then brought to the 'glory hole' (reheat furnace) for fusing.

Since the glass is hot, the piece sags while I flatten it so the piece is flipped continually. Before starting the glass blowing process, the glass is placed in a furnace that heats it to a temperature of 2000 degrees, making it malleable.

I carefully close the open part of the bubble where it was attached to the first blowpipe.

The main materials are sand, soda ash, pot ash and lime.

Thanks to the glass blowing process, glass has been one of the most useful materials in human society for centuries. Stretching the lower part of the work before putting on the bottom. 6.

Before any glass can be blown, I create the patterns days earlier (see Making Cane and Making Murrine) and design the piece by arranging the patterns into a mosaic on a large ceramic kiln shelf.

2. 7. I use a pair of metal tools to squeeze the pattern together to help these pieces fuse into a sheet. 6. Throughout the process the piece is reheated every 20 seconds or so in order to keep the glass flexible.

After coming out of the furnace the pipe is hot and needs to be cooled before we shape the glass. F. 3. Air is blown through the pipe into the glass to expand it and make it hollow. Michael carries it with kevlar gloves into the annealer where it will cool slowly from 920F to room temperature in about 32 hours. The composition is taken for the first of many heats in the glory hole to soften and fuse the patterns. Once the piece is again reheated, the final shaping is done to the part previously attached to the blowpipe. Another gather encases the work with another layer of clear glass and provides additional mass to create the size of work I desire. Historic Jamestown's modern, natural gas furnace melts a batch in nine hours at 2350 deg. When I'm ready to blow the piece, the finished design is pre-heated in a kiln, then brought to the 'glory hole' (reheat furnace) for fusing. The glass is rolled on a steel plate called a marver to center it and slightly cool the exterior.

4. The collar is a donut of clear glass that is sized precisely so the circumference perfectly matches the length of the fused composition. The next step is to roll the molten glass on a flat metal slab called a marver.

The composition is heated gently a number of times. In order to achieve the desired pattern I switch the piece to a new blowpipe. To carry out this process, the blowpipe holding the glass must be placed on a steel stand. The finished piece is placed in an annealing oven. This relieves the stress in the glass and prevents it from breaking. Now we're working the glass very hot. Raw materials are mixed together in the proper ratio to form the batch.

With a few drops of water on the crease in the punty and a couple taps of a wooden paddle... ...the piece breaks free. The marver acts as a means to control the shape and temperature of the glass. I carefully distribute the molten glass around the bubble, determining where I want the new coating of liquid glass.

This furnace contains a huge crucible with 600lbs of clear liquid glass sitting at 2100F degrees. The Duncan McClellan Gallery teams up with Selby Gardens for the 3rd Summer in a row. Once the main glass piece has been fused with crushed colored glass, it is taken back to the marvel where it is rolled again. Glass blowing is a glass forming technique that humans have used to shape glass since the 1st century B.C. The glass is taken back to the fire (a reheating chamber called a glory hole) to re-soften it as many times as needed. This series of photos shows the process step-by-step but watch this video to see it in motion. Once the basic shape is formed, the piece is transferred to a solid gathering iron called a punty.

We’ve laid the exact process, step by step, to give you a better understanding of how exactly we’ve made the best use of this wonderful material. To do this, steel tweezers called jacks are used to separate the bottom part of the blown glass while rotating the blowpipe.

As the heat from the gather soaks in and makes made the entire mass liquid again, I also re-shape the bubble using a wet pad of newspaper, a favorite tool of glassblowers everywhere.

Hand tools, gravity and more air are used to manipulate the shape. Gathering multiple layers of clear glass over the pattern is necessary to build up the mass to make a larger piece. 7. 1.

Virtually all glassblowers work in teams and I'm assisted here by Michael Patton, a skilled glassblower who's worked with me for years.

If I were to stop turning at this point the glass would quickly sag and drip towards the floor. The process begins with European craftsmen heating a small hollow bulb of glass over an open flame until it is red hot. I use the wet newspaper pad to control where the piece inflates while Michael blows into the pipe (outside of the photo). Blowing when the glass is this hot is easy since the glass is soft and inflates readily. When I have the shape I want, I flatten the piece by quickly rubbing and squeezing it between two large cork paddles. The glass is taken back and forth from the marver to the glory hole, a hot chamber used to reheat the glass in order to make it malleable again. The water sizzles on the hot glass forming tiny cracks and I quickly rap the pipe with my tweezers which creates a strong vibration. To give the glass its final shape and size, it is blown into with a blowpipe, creating a sort of bubble of glass.

The last step is to take the blown glass to an annealing oven using heat resistant gloves. Next, the glass is gathered by inserting one end of the blowpipe into the furnace, and rolling it over the molten glass until a “gob” of glass attaches to it. Here I use a large block to distribute the most recent layer of molten glass around the patterned bubble.

With the pattern on the pipe, I carefully close the edges.

Once I'm satisfied with the shape, I spot heat the bottom with an extra-hot torch and use a wood paddle to form a crisp bottom. Air is blown through the pipe into the glass to expand it and make it hollow. The glass is rolled on a steel plate called a marver to center it and slightly cool the exterior. Once the composition is fully fused, I gather clear glass out of the furnace by dipping a blowpipe in molten glass to create what's called a 'collar,' which will attach the pattern to the pipe. Once the bottom is finished, we prepare to switch the piece to a 'punty' in order to finish the other side of the piece. Here, Michael prepares the punty.

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