547:, in glass terms, is heating a piece until its temperature reaches a stress-relief point; that is, a temperature at which the glass is still too hard to deform, but is soft enough for internal stresses to ease. The piece is then allowed to heat-soak until its temperature is uniform throughout. The time necessary for this depends on the type of glass and thickness of the thickest section. The piece is then slowly cooled at a predetermined rate until its temperature is below a critical point, (between 900 and 1000 degrees Fahrenheit), at which it cannot generate internal stresses, and then can safely be dropped to room temperature. This relieves the internal stresses, resulting in a piece which should last for many years. Glass that has not been annealed may crack or shatter due to a seemingly minor temperature change or other shock.
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267:. Glass rods are manufactured in various sizes, as small as 1 mm and as large as 50 mm or more. Glass rod is also made in different shapes like: square, triangle or half round rod. Glass tubes are also offered in a range of diameters, colors, and profiles like: scalloped, twisted or lined tubing. Crushed glass particles that have been sifted to specific sizes are known as frit or power. Sheet glass is produced in varying thickness and can be cut and shaped before being worked in the flame. The glass industry has seen steady growth in the past few decades that continues to expand the types and forms of glass available to lampworkers.
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237:(COE) Glasses with incompatible COE, mixed together, can create powerful stresses within a finished piece as it cools, cracking or violently shattering the piece. Chemically, some colors can react with each other when melted together. This may cause desirable effects in coloration, metallic sheen, or an aesthetically pleasing "web effect". It also can cause undesirable effects such as unattractive discoloration, bubbling, or devitrification.
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lampworkers who kept the techniques secret. Thirty or so years ago, some
American artists started experimenting with the form. Their early efforts, by today's standards, were crude, as there was almost no documentation, and none of the modern tools. However, they shared their information, and some of
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Borosilicate glass is considered more forgiving to work with, as its lower COE makes it less apt to crack during flameworking than soda-lime glass or lead glass. However, it has a narrower working temperature range than the soft glasses, has fewer available colors, and is considerably more expensive.
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The most popular glass for lampworking is soda-lime glass, which is available pre-colored. Soda-lime glass is the traditional mix used in blown furnace glass, and lampworking glass rods were originally hand-drawn from the furnace and allowed to cool for use by lampworkers. Today soda-lime, or "soft"
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since the 70's and 80's. Fuming consists of heating silver or gold in the flame, so that the metals vaporize or "fume" microscopically thin layers of particles onto the glass. These particles stick to the hot glass surface changing its color with interesting effects. Silver turns clear glass into a
249:
Lead glass has the broadest working range of the three glasses, and holds its heat better when it is out of the flame. This gives one more time to adjust one's work when blowing hollow forms. It is also less likely to crack while being worked in making pieces of variable thickness than is soda-lime
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After designing a piece, a lampworker must plan how to construct it. Once ready to begin, the lampworker slowly introduces glass rod or tubing into the flame to prevent cracking from thermal shock. The glass is heated until molten and wound around a specially coated steel mandrel, forming the base
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Soft glass is sometimes useful because it melts at lower temperatures, but it does not react well to rapid temperature changes as borosilicate glass does. Soft glass expands and contracts much more than hard glass when heated/cooled, and must be kept at an even temperature while being worked,
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glass, a very hard glass requiring greater heat. Borosilicate originated as laboratory glass, but it has recently become available in color to the studio artist from a number of companies. At one time, soft (soda lime and lead) and hard (borosilicate) glasses had distinctly different looking
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are multi-layer beads once exclusively made using hot-shop techniques to produce the original tubing; but now some lampworkers make similar designs on their torches before lapping the ends to reveal the various layered colors. As torches get bigger and more powerful, the cross-over between
408:, and resistance to sticking to the molten glass. Steel is used where greater strength is required. Some molds may be made from fruitwoods, but primarily wood is used for handles of lampworking tools. Brass may be used for working surfaces where a higher coefficient of friction is desired.
32:
541:. It can then be embellished or decorated using a variety of techniques and materials. All parts of the workpiece must be kept at similar temperatures lest they shatter. Once finished, the piece must be annealed in an kiln to prevent cracking or shattering.
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especially if the piece being made has sections of varying thickness. If thin areas cool below the "stress point", shrinking can cause a crack. Hard glass, or borosilicate, shrinks much less, so is more forgiving. Borosilicate is just like regular
81:. Although lack of a precise definition for lampworking makes it difficult to determine when this technique was first developed, the earliest verifiable lampworked glass is probably a collection of beads thought to date to the fifth century
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Also, its working range is at higher temperatures than the soft glasses, requiring the use of oxygen/gas flames instead of air/gas. In addition to producing a hotter flame, the use of pure oxygen allows more control over the flame's
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yellowish color, giving shades of blues and greens when backed with a dark color, while gold turns clear glass shades of pinks and reds. The precious metal coating becomes increasingly visible the more the glass is fumed.
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properties, which is necessary because some coloring chemicals in borosilicate glass react with any remaining oxygen in the flame either to produce the desired final color or to discolor if extra oxygen is present.
31:
505:โ Metal tool found in various configurations which allows the hot glass to be securely held and rotated, commonly used for finishing pieces after they have been removed from the blowpipe or pontil.
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in the 14th century. As early as the 17th century, itinerant glassworkers demonstrated lampworking to the public. In the mid-19th century lampwork technique was extended to the production of
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Glass is available in a wide range of shapes, sizes, and colors for the lampworker. Most lampworkers use glass produced by commercial manufactures in the shape of rod, tube, sheet or
195:, and many US lampworkers used it in making blown work. Some colored glass tubing that was also used in the neon industry was used to make small colored blown work, and colored
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and health risks but mainly to the adoption of borosilicate glass by most lampworkers, especially since the introduction of colored glasses compatible with clear borosilicate.
747:
Lierke, Rosemarie. โEarly
History of Lampworking - Some Facts, Findings and Theories, Part 1: Kunckel's description of lampworking in the Arts Vitraria Experimentalis.โ
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Glasses to be fused together must be selected for compatibility with each other, both chemically (more of a concern with soft glass than borosilicate) and in terms of
376:
and oxygen torch is used to work quartz as requires higher temperatures than other types of glass. Quartz is resistant to extreme temperature variations and chemical
380:, making it especially useful in scientific applications. Quartz has recently gained popularity in artistic glass work but is only available a few limited colors.
199:, of compatible lead and soda-lime glasses, was used to ornament both clear and colored tubing. The use of soft glass tubing has been fading, owing partly to
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allows for precise rotation and manipulation of glass. They are especially suited for larger scale work that may be difficult or tiring to turn by hand.
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Early lampworking was done in the flame of an oil lamp, with the artist blowing air into the flame through a pipe or using foot-powered
744:
June 3, 2019. International
Flameworking Conference paper given March 24, 2017, at Salem Community College. Accessed January 29, 2020.
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754:
Lierke, Rosemarie. โEarly
History of Lampworking - Some Facts, Findings and Theories, Part 2: Lampworking techniques in antiquity.โ
445:โ flat surfaces used to roll glass upon in order to shape, smooth or consolidate applied decoration, typically made of graphite or
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is frequently used for the working surfaces of lampworking tools because of its ability to withstand high temperatures, low
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bead release agent that will allow the bead to be easily removed from the mandrel, either a clay-based substance or
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Lierke, Rosemary, "Early
History of Lampwork โ Some Facts, Findings, and Theories," Glastech.Ber.65, 1992: p. 342.
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Translated by Pamela Jean
Santini and Christina Cawthra. Volumes 1โ3. Venezia: Grafiche 2am editore, 2018โ2019.
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palettes, but demand by soft-glass artists for the silver strike colors, and the development of the bright,
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beadmaking) have generally been for the last four hundred years or so the province of
Italian, and, later,
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based `crayon colors' by Glass
Alchemy in the boro line, has diminished the distinctions between them.
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makes it ideal for raking (dragging glass around on the surface), or to bore a hole through the glass.
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state, the glass is formed by blowing and shaping with tools and hand movements. It is also known as
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via a hollow swivel, allowing the lampworker to blow into hollow glass forms while rotating them.
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in that glassblowing uses a furnace as the primary heat source, although torches are also used.
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techniques. "Furnace glass" beads, which are more elaborate versions of the old
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the glass, protecting the piece from thermal shock and relieving thermal stress.
421:โ The hand torch allows for more maneuverability of the flame, commonly used on
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Itinerant glassworker exhibition with spinning wheel and steam engine, 1904
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Contemporary
Lampworking: A practical guide to shaping glass in the flame.
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Volumes I-III. Prescott, AZ: Salusa
Glassworks, Inc., 2003, 2010.
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Fuming is a technique that has been developed and popularized by
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Lampworking is used to create artwork, including beads,
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lampworking and furnace glass continues to increase.
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In addition to soda lime glass, lampworkers can use
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where there is reduced maneuverability of the piece
396:Tools for lampworking are similar to those used in
112:. Most artists today use torches that burn either
713:"ISGB - International Society of Glass Beadmakers"
311:glass is manufactured globally, including Italy,
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339:. Lead glasses are distinguished by their lower
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608:This group eventually formed the basis for the
191:tubing was commonly used in the manufacture of
183:and lead glass, both called "soft glass", and
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786:The International Society of Glass Beadmakers
499:โ Steel shears are used to cut the hot glass.
65:or lamp is used to melt the glass. Once in a
140:in portable canisters for fuel and some use
175:Lampworking can be done with many types of
159:, and much more. It is also used to create
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551:Additional techniques for lampworked beads
610:International Society of Glass Beadmakers
85:. Lampworking became widely practiced in
39:Lampwork Glass Eye Cabochon Tutorial Boro
781:American Scientific Glassblowers Society
592:Lampworked beads (with the exception of
588:Brief history of modern lampworked beads
528:Demonstration of the lampworking process
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489:โ The extreme temperature resistance of
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77:, as the modern practice no longer uses
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163:as well as glass models of animal and
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791:International Flameworking Conference
761:Zecchin, Sandro, and Cesare Toffolo.
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662:"What is an itinerant glassworker?"
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859:Extrusion / Drawing (glass fibers)
740:Goldschmidt, Eric and Beth Hylen.
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571:technique, are widely made today.
469:on a handle used to enlarge holes.
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144:as a source of continuous oxygen.
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854:Blowing and pressing (containers)
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687:"Glass Dictionary: Flameworking"
660:Hopman, Rebecca (10 June 2019).
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235:coefficient of thermal expansion
368:Lampworkers can also work with
763:Il vetro a lume = Lampworking.
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520:General methods of beadmaking
218:), but it has a more flexible
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1:
742:โThe History of Lampworking.โ
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533:bead. The coating is an anti-
187:, often called "hard glass".
1037:Machine drawn cylinder sheet
7:
1150:Glossary of glass art terms
758:65, no. 12 (1992): 341โ348.
751:63, no. 12 (1990): 363โ369.
632:Leopold and Rudolf Blaschka
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155:, small vessels,sculpture,
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179:, but the most common are
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693:. Corning Museum of Glass
465:โ A piece of graphite or
1067:Satsuma Kiriko cut glass
879:Overflow downdraw method
874:Precision glass moulding
869:Drawing (optical fibers)
473:Blowhose/swivel assembly
383:
157:Christmas tree ornaments
1120:Shock metamorphic glass
756:Glastechnische Berichte
749:Glastechnische Berichte
691:Corning Museum of Glass
627:Scientific glassblowing
406:coefficient of friction
120:, or in some countries
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479:, is connected to the
455:โ A graphite or metal
435:is used to garage and
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351:Lampworkers often use
201:environmental concerns
161:scientific instruments
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243:oxidizing or reducing
136:. Many hobbyists use
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982:Cylinder blown sheet
459:attached to a handle
142:oxygen concentrators
1105:Radiative processes
920:historic techniques
844:Float glass process
511:โ The glassworking
423:glassworking lathes
220:molecular structure
899:Chemical polishing
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475:โ A hose, usually
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290:. You can help by
185:borosilicate glass
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1097:Natural processes
1012:Fourcault process
776:Glass Art Society
666:Gathering A Crowd
559:, or they can be
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16:(Redirected from
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259:Raw materials
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1082:Studio glass
1057:Porous glass
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1022:Glass mosaic
1007:Forest glass
918:Artistic and
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717:www.isgb.org
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695:. Retrieved
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669:. Retrieved
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413:Bench burner
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398:glassblowing
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370:fused quartz
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353:borosilicate
350:
347:Borosilicate
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292:adding to it
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189:Leaded glass
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103:glassblowing
95:paperweights
75:torchworking
74:
71:flameworking
70:
54:
53:
1032:Lampworking
972:Crown glass
967:Cased glass
962:Caneworking
957:Broad sheet
952:Blown plate
557:sandblasted
222:from being
118:natural gas
61:in which a
55:Lampworking
1170:Categories
1042:Millefiori
942:Beadmaking
864:Glass wool
837:techniques
835:Commercial
829:techniques
697:29 January
671:29 January
638:References
419:Hand torch
337:lead glass
193:neon signs
167:subjects.
18:Lampworker
1181:Glass art
1124:Impactite
1115:Sea glass
1027:Glassware
987:Engraving
977:Cut glass
937:Glass art
932:Art glass
927:ฤina-kฤri
569:Seed bead
545:Annealing
378:corrosion
341:viscosity
197:glass rod
165:botanical
149:figurines
59:glasswork
1176:Beadwork
1072:Slumping
884:Pressing
616:See also
602:Bohemian
565:lapidary
563:, using
491:tungsten
481:blowpipe
402:Graphite
374:hydrogen
299:May 2008
138:MAPP gas
134:oxidizer
128:or pure
1143:Related
992:Etching
947:Blowing
909:Rolling
889:Casting
598:African
561:faceted
535:fluxing
358:cadmium
325:America
313:Germany
250:glass.
153:marbles
132:as the
114:propane
110:bellows
1047:Mirror
1017:Fusing
497:Shears
463:Reamer
457:marver
453:Paddle
443:Marver
437:anneal
431:โ the
364:Quartz
130:oxygen
122:butane
99:France
87:Murano
67:molten
594:Asian
513:lathe
509:Lathe
477:latex
467:brass
447:steel
384:Tools
321:China
228:boron
226:with
224:doped
177:glass
91:Italy
63:torch
49:beads
699:2020
673:2020
596:and
433:kiln
429:Kiln
331:Lead
323:and
265:frit
294:.
213:SiO
126:air
116:or
83:BCE
73:or
1172::
715:.
689:.
664:.
612:.
400:.
327:.
319:,
315:,
230:.
151:,
89:,
1122:/
819:e
812:t
805:v
719:.
701:.
675:.
449:.
301:)
297:(
215:2
211:(
20:)
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