Hot Glass Bits #21

Contact Mike Firth

August 1-September 25,1994 [REPRINT]

This issue contains deadline information for

On-site fellowships, Nov.4, for 1995 CGCA FELLOWSHIPS

[capitalized KEYWORD starts paragraph below]

Hot Glass Bits is a personal chronological record of my wanderings through glassblowing and the bits and pieces of knowledge I gather along the way. It includes things I try, thoughts I have, information I receive, and reports on things I do. In many ways it is an edited diary and events calendar about glassblowing. If it is useful to others, it is worth the effort.

WHOAMI? - Mike Firth is a 51 year old, low experience glassblower who signed up for his first class in '91 without having seen anyone blow, although he had seen TV shows and has done stained glass and worked clear tubing in the past. He has built cheap equipment in his back yard to learn and practice. When not blowing, he is a self-employed computer programmer and teacher about computers.

Vision Thing: It wouldn't hurt to have more glassblowing in Texas.

To mention the legal stuff: Working glass is inherently dangerous, involving heavy materials that can be razor sharp, so hot that damage can be done before feeling occurs, with chemicals immediately poisonous, dusts that can damage the lungs, and heat sources that can wreck the eyes. Understand the safe practices required and use them to blow beautiful glass.

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CALENDAR

Marc Boutte at Divas Art Glass, October 12, Wed.

Cameo, American Cut, Iridized Glass, MSC Forsyth Center Galleries, Texas A&M, College Station, Ongoing

1995 CGCA FELLOWSHIPS deadline November 4th for the two sessions May 30 - Aug.25 and Sep.5 - Dec.1, 1995. The Center is part of the Wheaton Cultural Alliance, Inc. and operates out of a recreated 1888 glass factory that is part of Wheaton Village in southern New Jersey. "Preference is given to artists who have had several years experience outside the educational environment." Application requires 10 numbered and identified slides and eight copies of paper work, which includes two letters of recommendation, resume, statement and application form. Selection is by a committee of trustees who include Doug Heller of Heller Gallery and artist Paul Stankard. [Creative Glass Center of America, 1501 Glasstown Rd, Millville NJ 08332-1566 Denise Dendrinos, Program Coordinator, 609-825-6800 x 2733] 5/23/94 9/25/94

LOW POINT - Having sent HB#20 off earlier today, on a high point, I just made it. This afternoon my State Farm agent - picked him from the phone book in 1971 when we arrived in Dallas - showed up with company orders to look at all his insured propertied properties, apparently after were stung in Louisiana after the storms last year by paying full price for dilapidated places. He was not happy with the floor of the porch - places to trip over, the appearance of the roof - which isn't leaking, but they don't want to replace it at full price and don't have a mechanism for reducing coverage, and the back yard: an "attractive nuisance" which means if a kid gets in, he can get hurt. About half the stuff is related to repairing the garage and about half is related to .... yeah, glassblowing.    So now I have the city unhappy and my insurance company unhappy and I have a house assessed at $20K under the mortgage with a market value $10-20K under. So there go most plans for any shift in spending toward more glass or travel related to glass. 8/3/94

CHIHULY - Went down to the Dallas Museum of Art to see the Chihuly "Installations 1964-1994" show. A nice show it is, without being large. I have seen the pieces in Detroit, which was larger, but it is nice to be able to go back to it and since the DMA has some funds and is giving metro area teachers $50 memberships for $20, I am now a member. One major change over Detroit (and the video tapes of Seattle) is a greater openness. Seattle/Detroit had wood/sheetrock walls and pillars and confining sense. The Dallas show is more open and the Macchia Forest can be walked among and behind. The Niijima Floats are here set on a floor of large chunks of clear glass cullet (which is driving the guards buggy - besides don't touch the art, don't get cut.)    The entrance is Persian Perigola: in this case a steel frame, Seattle/Detroit being wood panels, with 4x4' glass plates about 8' off the floor, wider than Detroit and clear of the walls. On the glass plates are mostly flat spun disks with smaller pieces intermixed. On the audio tape, Dale says he got the idea from a priest in Japan who put his one Macchia under glass that formed part of his floor.    Following this are his yellow balloon/eggplant/nipple chandelier, Venetians (classic shapes with elaborate additions), Persians on the wall, Niijima Floats, Macchia Forest, Ikebana, and his opera set. Steel plate on square steel posts is used for the Macchia Forest and the final red folded Persian piece.    The show is well worth seeing as his works sets a standard in current glass work. It runs through Sept.25th and there is a fee for non-members. 8/5/94

URBANGLASS - Well, the New York Experimental Glass Workshop, which was muttering last year, has gotten around to changing its name, as announced in the Fall '94 brochure. It is now UrbanGlass, New York Contemporary Glass Center [647 Fulton St, Brooklyn NY 11217-1112, 718-625-3685 FAX:718-625-3889.] They are including some stained glass -- a historic tour and classes in the brochure. Blowing, fusing, lampworking, kiln, casting, and cold working glass are still included. Painting on glass is covered in two classes. There are Workshops, tours, 12 session classes, survey classes, and residencies. 8/5/94

GUIDE TO GALLERIES - The magazine Art In America has come out with a Guide to Galleries, Museums, Artists, 1994-95, apparently an annual August issue, that appears to be complete and useful. [Unscientific opinion, I haven't compared the listing to reality for any place....Later: College Station lists Texas A&M galleries, but not the Arts Council of the Brazos Valley Local Color Gallery which has had several shows.]    I was handed a copy in the Fine Arts Dept. of the Dallas Public Library when I asked for a gallery list. There is a major alphabetical listing by states, occupying 140 pages and then Indexes (that refer to the Alpha) for galleries, private dealers, print dealers, corporate consultants, museums, nonprofit exhibition spaces and university galleries. Also indexed are Artists cross-referenced to galleries and show locations, catalogues of shows, editorial content of Art in America, auction Houses, art Services, art Schools, and advertisers. [Vol.82, No.8, Art in America, $12 cover price+$3 S&H, 575 Broadway, New York NY 10012 212-941-2800 FAX: 212-941-2885]

CERF (Craft Emergency Relief Fund) [245 Main Street #203 Northampton MA 01060 USA 1-413-586-5898 FAX: 1-413-586-0688] distributes money to artists who have suffered some form of disaster. A July 12th press release reports that a special fund has been created within CERF which will be funded by the Glass Art Society to supplement CERF's general giving. The Tennessee Association of Craft Artists fund and an HIV/AIDS fund have also been created. Having the funds within CERF avoids duplicate overhead. A May 12th release discusses sources of support, including kiln suppliers providing wholesale pricing and 0% financing to CERF referrals and shows providing free booth space for raising money and for recovering artists.    CERF has established itself as a good thing for artists and donations of cash and items for auctions, etc., are to be encouraged, tax deductible of course. 8/8/94

FAX - I have not had facsimile transmission (Fax) available until recently, when it came a part of a higher speed modem I need for my programming work. Fax has a certain power, especially when, using Windows, sending a computer document is literally nothing more than selecting fax as my printer and printing the document. If Windows programs are used, literally any drawing or graph can be sent as a fax just as easily. Some computer people deride fax as "old technology", but it is convenient and very fast. Sending a letter to someone who has a fax machine is far cheaper, locally, than finding and stamping an envelope even when using window envelopes as I do. I shall have to look at my phone bill and see what sending a couple of pages to Kansas cost me. 8/15/94

WIMBERLEY GATHERING - Having made arrangements, sort of, to drive to Austin and Wimberley, Texas, for Sable V's Gathering of Glass artists show, I am now undoing them. Everything seems to be conspiring to make it impractical including gas suddenly increasing from 99.9 to 112.9. The pressure to fix the house from State Farm is mixed with tension from a client I may lose. If I lose them, I will be short of money; if I don't I will be short of time. I blew glass Saturday night and made a piece which I sent to a long time acquaintance in the membership office at the art museum. She called to say she liked it. A blue vase thing with lots of bubbles. 8/15/94

PILCHUCK NEWS - A two sided 11x17 Pilchuck Glass School News, Jul.'94, arrived in the mail today, not having seen one before. Nice notes on events and people. Bullseye donated "literally tons" of tested compatible clear with 400 pounds of color and staff built a 4 pot furnace to melt the stuff, with great experimental results. The student-to-student auction raised $13,000 on about 90 pieces, including a William Morris, the funds going to non-budget, student requested items such as print shop, neon startup, and shop CD players. Among the dozen or so other stories is one on space available because of cancellations, they say. One class is kiln casting mold making "to explore the narrative potential of object" and an exploratory image class "playing with the transparency of glass and processes of painting, slumping, sandblasting, engraving, layering and collaging." When I look at summer schedules, I sometimes see classes which strike me as well off where I want to spend my money; these seem in that category: soft and squishy. [Pilchuck Glass School, 315 Second Avenue South, Suite 200, Seattle WAS 98104-2618, which may be a new address for you, they moved this spring.] 8/15/94

IGB - Issue #34 of The Independent Glassblower [$25/yr, back issues by the year, %David Gruenig, HC 30 Box 25, Barnet VT 05821] arrived in the same mail. Features include a revision to notes in #14 about perfume stoppers, continuation of furnace building with details of burners (good notes), a poem for renewal from a reader, notes on Iridizing from Art Allison and two pages of ads. 8/15/94

CGCA RAFFLE - And still in the same mail arrived notice of a fundraising raffle for the Creative Glass Center of America [1501 Glasstown Center Rd, Millville NJ 08332 609-825-6800 x 2733] fellowship program. The prizes are a Paul Stankard botanical (value: $10,500), a David Hopper figure in solid glass ($4,000) and a Therman Statom glass house ($3,600). Tickets are $100.00 (just to make sure you didn't think I left the . out if I typed $100) or 6 for $500. Only the first 500 returned with payment are used in the raffle. If all sell, the raffle will raise $41,700 to $50,000 depending on how they are sold. The pieces are pictured in color on the ticket order form stub. 8/15/94

IGGA DISCOUNTS - "A third of the companies ... [describing] their products and services in the first annual Sources Guide have agreed to give members [of the International Guild of Glass Artists] discounts on glass, tools, supplies and publications ... that range from 5% to 45%." "To date, 34 companies ... have offered discounts." These supporting suppliers are listed in each issue of the quarterly newsletter, Common Ground: Glass. The Sources Guide will be published later this year and included in the membership package and will be available for download from the Crafts Forum of CompuServe. [All of this paragraph from an August 8th IGGA press release.    In the same mail there arrived the Fall 1994 issue, Vol.1, No.2, of Common Ground: Glass the quarterly newsletter. Much coverage of St.Louis meeting of the Stained Glass Association of America, et.al., promotion of starting local IGGA Chapters, plans for some '95 joint action by AGSA and IGGA, pricing work, a featured gallery, a featured artist, and Give & Take which includes an answer by me originally posted on CIS. An ad for The Guild Library, which is an extension of The Book Exchange, but orders through the Library result in 10% of the price going to the Guild. 11; The International Guild of Glass Artists [Tonetta Lake Road, Brewster NY 10509, 914-278-2152, or on CompuServe GO CRAFTS] is $45 a year for individual artists, $25 for student/hobbyist, high rates for Studio/Corporate, Benefactor/Founder. Quarterly newsletter and discounts. Presumably meetings and sponsorship in the future; planning a school in New England. 8/17/94

WIND - We haven't had much rain this month, usually don't, but we are having a storm now and, as I looked out to see what was happening, I find my furnace/gloryhole corrugated rain shield laying in the middle of the yard and most of the upper part of the furnace is laying scattered on the grass getting rained on. 8/20/94

MIRRORS & LIGHT - Received a letter, as many of you have, saying that the high quality newsletter for kaleidoscope makers and other glass workers and collectors was folding due to failure to attract advertisers. The quality was very high and slick and I shall regret the loss. 8/20/94

GLASS AXIS is a cooperative for central Ohio (28 Cozzins St., Columbus OH 43215, 614-228-4011) that offers classes and rental time ($17.50/hr walk-in, $15/hr advance purchase over 30 hours.) The fall announcement includes Beginning Glassblowing, 6 weeks, $250, starting August 28 & 30; Intermediate Glassblowing, 6 weeks, $250, starting September 1; and paperweight days on 9/10, 10/1, and 10/22, 12-5pm $25. Membership ($40) is required for enrollment. Volunteer work earns blow time. 8/25/94

ED SCHMID sends a nice post card made of a B&W photograph of him blowing at Wheaton Village. He mentions that the actual cost of the handbook I praised, on beginning glass blowing, is $24.95 with shipping either $1.76 or $2.90 (priority mail.) 8/26/94

BLOWING SESSION - Had a fair session of glassblowing. As most readers know, I am doing glassblowing at the bottom dollar level. For pipes I am using 304 stainless water pipe, only one of which has been modified so it has more surface area than the end of the pipe and that isn't flared, but was welded shut and a smaller hole drilled in the end. When I visit others shops and am given a chance on the floor, I tend to under heat the regular pipes, so the first gather is chilled and the bubble very hard to form. The weight and length of the pipes also throw me off. But my pipes may be causing me problems that I don't recognize. So, while Divas is shut down for the summer, I borrowed one of their lightest standard pipes and used it for the first time tonight. The first thing I learned is that there is a very good reason for the flare and thick walls of the end of standard pipes: it simply makes blowing easier. Wall thickness is better proportioned off a thick pipe wall for necking the bubble and gathering gives a lower proportion of glass on the pipe with the bigger end. With water pipe the bubble starts D shaped and expands out beyond the pipe at the end; with the flared end, the bubble is round inside the glass with just a small hole at the metal -- the diameter of the bubble isn't at the end of the pipe but out half an inch or more.    But I also found that I really like working off a plate on the floor for some things and a standard length pipe makes this awkward. I can see myself buying a light standard diameter pipe about 8-10" shorter than standard. I may want a full length if I start blowing hefty pieces, for the leverage, and may need one if I use a standard bench, but hefty is a long way off and I like my narrow standup bench.    The session went reasonably well, although the first four pieces were trash, ironically because I was working very hot without adapting to it, so I was getting long thin floppy glass with a thin bubble near the pipe. At the end I worked four or five big and little round things, paperweights and ornaments, off the same hot pipe. I need setup a fiber break off table or can to put the little curl loop on the top of the ornament.    Terry Maxwell and Shirley Daniel, the Divas, came back from their trip to New Mexico with a bunch of pictures of shops, including Peet Robison's garage for hanging pipes. I hope to get copies. They remarked on the various styles of housekeeping, from rough to precise in the various shops.

JOB - I have wondered on occasion recently whether God is playing Job-like games. About a year ago I lost my decade long Continuing Ed teaching position. The van has engine problems. Income was way down for several months. The city gave me a citation for my roof and my house paint, both of which were being worked on at the time of the citation, as well as my garage, which gave me the excuse of rebuilding it. Then State Farm showed up to require a new roof and repairs to the porch as well as clearing much of what is in the backyard. What next? I went to see my doctor about pain in my joints and learned that the Clinic is shutting down and the doctors scattering, he going 8.1 miles north, outside an 8 mile practice restriction, but more like 15 miles of city traffic for me and rotten bus service for Gigi. Instead of one set of coordinated medical records, I suspect I will be filling out repeated medical histories as I find doctors.

SAFETY - During my last blowing session, my annealer failed to start properly. I found the GFI (Ground Fault Interrupter) was tripping. After eliminating various pieces of hardware, I ended at the element of the annealer, which I tested with a DVM (Digital Voltmeter) which showed a low ohms connection to the case. It turned out that one of the ceramic donuts around my heating element had slipped so the wire holding it, screwed to the outside of the case, was touching the element. (Another reason for hairpinning the element to the fiber.)    A GFI gives protection that a circuit breaker does not. A breaker doesn't trip until the current flow is well over the stated limit, typically 30-50%. In the case of my element the grounded point was past the center of the element, so current flow was unlikely to get high enough to trip a 20 amp breaker. But a GFI works by measuring the current going out one wire and back the other; if the difference is greater than about 50 ma (about what it takes to stop the human heart) it trips. In my case the current was going to ground through the case instead of my body, but the GFI tripped. All metal cases around electricity should have a good connection to ground.    The most common form of GFI is an outlet designed for use in bathrooms and kitchens: wet areas. These can be had for under $20 and handle 15 amps at the outlet and 20 amps on a set of output terminals. (And the reason for that is that the outlet is a U-ground with two parallel blades, which is a 15 amp design, 20 amp plugs have one blade perpendicular to the other.) However, GFI breakers are available (and at about twice the cost of outlet box versions for the same rating) and in higher amp ratings. 8/29/94

TUBES & FURNACES - One common recommendation in casting invested pot furnaces is to use the large cardboard tubes used for casting concrete cylinders; sometimes one brand name, Sonotube, is used like Kleenex to refer to any brand. Henry Halem's book includes such a reference. My problem has always been that when I have called, they are only sold in long lengths, but I tried again with Savway Tubes after getting a local number off a concrete light standard. Lone Star Container only sells in 12 foot lengths with, for example, 18" costing $3.61 a foot ($43.32) and 30" costing $8.98 a foot ($107.76) plus tax. These two would give only a 6" wall thickness.    An alternative that should cost considerably less is sheet metal which has the advantage that the outer sheet can stay in place for physical and weather protection of the castable. This method involves making an interior tube with the heads of sheet metal screws on the inside and the outer tube with the heads outside. When the lower section of the furnace, to contain the pot, is set, the screws can be removed and the inner sheet taken out more easily. The outer sheet can be removed or left in place. After the pot is placed and invested (had castable, etc, poured around it) the upper part can be setup. The lid/roof/top, by the way, can be cast on the floor, using the outer tube as a mold before it is used for the body. Placing a dome of sand under the lid will produce an arch under the lid which is stronger and less likely to shed castable in the center when hot. While the inner sheet metal must be removed, the outer can be left in place. It is better to use plain sheet metal rather than galvanized if it will be left in place as the zinc galvanizing melts at low temperatures. 9/1/94

RAIN AGAIN - On the last day of last month, my back yard got more (2.5") rain than the average (1.8") for the whole month. On the first two days of this month we got all but 0.2 of the average rain (3.3") for the month. 9/2/94

LESSON, PAINFUL - When I was making my pipes from stainless water pipe, I also made a punty with a 1/2" pipe shaft and 3/8" end, simply because the 3/8" fit easily inside and the larger shaft gave me more leverage. For some reason, perhaps a failed attempt at something, I also welded shut the other end. Tonight I placed the punty to preheat and, having hung the pipe, reached for it and dropped it almost instantly, because it was very hot.    To be precise, it was about 212°F because there was water inside. Somewhere in my welding, there was a pinhole. Since I store my stuff outside, it is heated everyday and cooled each night. The air expands and contracts, sucking in humid air which later condenses into drops which slide to the bottom, which is shaded, so the drops don't evaporate. After a while, I had a perfect heat pipe to cook my hand.    I sawed off the end, at an angle to avoid confusion with blowing pipes and drilled a small drain hole near the bottom. While cutting, almost a tablespoon of water drained out.    Other than than, it was a pretty good blowing session. Especially nice to get the early pieces to work. I've got to improve my method of adding hot glass in the middle of a run, singed my gloves this time, using pliers and clay flower pot cups. 9/10/94

FEEDBACK - Getting some positive feedback is always nice. This showed up on CompuServe via Internet from GEnie: "After reading your newsletter I was impressed at how comfortable it is. The info looks interesting to me and your tone is NOT of an Educational Work that seems to talk down to it's audience." This from s.anderson41 who was writing because he was concerned about the copyright on the upload file and read the whole file to find the release he wanted to find. 9/10/94

EYE PROTECTION - I am in the midst of exchanging letters about an article on hot glass eye protection that appeared in the last issue of Professional Stained Glass. The author is a maker of masks using fused glass, James Schell of Houston, who also markets gold plated eye protection. I objected to the article in the first place because it did not make clear that he was selling the stuff he was advocating and because the content of the article was alarmist and imprecise. Transparent gold plating was developed by NASA to protect the astronauts from the intense ultraviolet (UV) of the sun in space. As everyone knows, there is intense advertising about skin damage from UV and sunglasses with UV protection are pushed to the limit. Unfortunately, Consumer Reports points out that almost any plastic or glass will block UV from the eyes and a report in Independent Glassblower #18 says that while glory holes have a lot of infrared (IR) the level of UV is well below the risk threshold. James and I are now trying to get more information. If you know of any sources of info, please pass them on.    One very good point that James makes is that all glass workers need at least a physical barrier (clear glasses or shaded) to keep chips out of the eyes, whether those chips come from cutting cold stained glass or "pop-off" from during heating and cooling pipes. 9/11/94

MARC BOUTTE is coming to Divas Art Glass, south of Ft.Worth, for a day of demonstrations on October 12th, Wednesday, 10-1, break for lunch, then continue 2-5. The day will cost $50, Mark spent part of the summer at Pilchuck doing offhand sculpting with Pino Signoretto. Mark is best known for delicate veils of color in medium-large solid pieces that are heavily cold worked to have flat sides that contrast with the curves of color. He will demonstrate the sculpting and answer questions and may take requests (including mine showing how he makes his solid pieces.) Contact Terry Maxwell at Divas Glass, 1100 E. Rendon-Crowley Rd. Building #7, Burleson TX 76028, 1-817-293-0190 which is 1 mile east of I-35W about 7 miles south of I-20. 9/16/94

GOOD SESSION - Started up the furnace just before 5 pm, started blowing about 6:20, did half a dozen small pieces refilling the pot along the way and quit about 8:20. Few problems. Punty work good. Most irritating was making nice pulled top vase, first I have done in some time, then letting it cool too much and cracking bottom getting of punty. Long day of computer user group with four presentations, mentioned Hot Glass Bits and got a rise from a guy interested in glass blowing, he said. 9/17/94

FRITTER - Todd Hope, here in Dallas, was active in fusing glass for several years and has now gotten out. He would like to sell a Bico-Braun UA Pulverizer that will reduce 1/4" chunks to 150-200 mesh at a rate of 1#/minute. He paid about $4,000 for it in January 1990 and is asking $2750. He estimates 100 hours use. [214-733-1191, 18934 Whitewater Lane, Dallas TX 75287-2959] 9/22/94

LAST CALL - On the way back from a client call, I dropped by the Dallas Museum of Art to see the Chihuly retrospective in its final days. I like a lot of stuff in the show. A new show (Sept.21-Dec.5) next door features works from the private collection of Stanley Marcus, who is, of course, half of Neiman-Marcus of luxury marketing and outrageous Christmas catalog fame. I like his taste and would cheerfully take about half the stuff on display instantly. There is one piece of glass in the show, a Venetian clear oval with a purple dot and oval with it, which is the logo piece of the show: The Eye of Stanley Marcus. In wandering around the building, I came upon a computer access center that allows calling up works by artist or material, including pictures, from the collection. I looked up Chihuly, found nothing. Looked up glass, blown (from a selection list) and found nothing, although there are some blown pieces in the study collection room. 11; Art Allison has two of his characteristic dark and metallic vases set just inside the entrance to the Museum Shop, next to a large eye catching Chihuly poster, clearly marked with his name and location as a Texas artist. [The shop frequently neglects names.] 9/23/94

RECIPE - I have added a Catalog of Blown Glass Objects to the list of Recipes below. This is objects I have seen made of glass, as a stimulus for thinking. If you have seen something you found interesting that is a category (like vases or writing pens) drop me a note. I have also raised the price of the recipes because of the number of pages and time to assemble a mailing. 9/25/94

 LAST CALL II - This seems an appropriate point to get this in the mail, having missed all the showing of the East Texas Show and the Chihuly exhibit while preparing this. Shorter than some issues, but the garage has part of a concrete floor, the porch has fewer things to trip over, and classes are started at North Lake.

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PHOTOS - I am carrying around a pair of portfolios that show examples of glass of particular artists and photos their equipment. I normally take these pictures when I visit. If you wish to share views of your place, I would prefer the following: two pictures from the same position - one across the shop at the hot wall, the second to the right or left showing most of the rest of the shop often including annealers. A third picture of cold working equipment would be nice. For pictures of work, I favor one picture filled with your best/favorite piece and another showing several pieces that represent the variety of your work. The pictures I carry are 4x6 or 3 1/2x5. If you send slides, I will have prints made. 5/21/94

REFERENCE LISTS - I would like to know of people involved in glassblowing, glassblowers, even those who only blow part of the year; glassblowing studios; and galleries showing and/or selling blown glass. At a minimum, I will send them a copy of Hot Glass Bits. Beyond that, maybe some coordination, reducing costs, sharing experience. Address or phone number needed. Also, schools and people doing teaching in studios so when people ask I can send them some place.

RECIPES - I have started putting together Recipes - sets of directions for some specific glassblowing task, most often construction right now - following the model of a cookbook including the personal nature of cooking, generally a couple of pages long, some with a drawing. If you would like to offer something, please do so; ask for a sample page if you wish. The following are available now, $3 for the first one, $2 for each additional ordered at the same time, to cover copy, processing and mailing costs.

__ Building a small firebrick gloryhole __ Gloryhole/Furnace Door
__ Using Propane in a Small Glassblowing Operation __ Standup Glassworking Bench
__ Making a Flat Grinder __ Building a fiber lined annealer
__ Lower cost temperature measurement __ Organizations & periodicals
__ Glossary __ Making a small crucible__ Catalog of Blown Glass Objects

Blow good Glass

Started 8/1/94 ending 9/25/94 Para spacing in format, Header has #

67 Artists & 64 Glass-DB = 150 copies 131 total sent

On the day I had the issue copied for mailing, my first copy of American Craft arrived with an ad of interest to Hot Glass Texans: A Gathering of Glass is not only at Sable V Fine Art Gallery in Wimberley (until October 17) but will also be shown at Carlyn Galerie [6137 Luther Lane, Dallas TX 75225 214-368-2828, two streets south of Northwest Highway at Preston Road] from October 27 to November 20 with an opening reception the first date from 6-9 pm.

Since I am adding this notice to North Texas addresses, I will add this extra pointer to the paragraph about Marc Boutte at Divas Glass on Wed. Oct.12. I also serve notice that I misspelled his name as Mark in the first printed version that some of you are getting.