JUNE/JULY 2012 Newsletter 

In This Issue
Pacific Art Glass Visit
Images in Glass
Bullseye Glass Demo
Patio Show Report
Making Irid Glass
Letter from the President

Dear Fellow Glass Enthusiasts,

Ahhhhh, Summer... Once again I am off to the GAS conference, this year in Toledo (Ohio, not Spain...sigh) and then up to BAGI (Bay Area Glass Institute) in San Jose to perfect the Australian Roll-Up technique.  Clay Logan and I plan to offer a roll up/blow service to fusers by the Fall quarter at UCSD.  I will keep you posted.  

Even if you are not traveling for a workshop this Summer we have some great things in store for you right here at home!  We will have two hands-on events; Rayzist with Susan Hirsch in June and a two hour Bullseye demo/workshop at our General Membership meeting in July. (see articles below)

This Fall promises the two biggest glass events in San Diego County!  Fallbrook Art Center's Galaxy of Glass received a substantial grant for their show celebrating the 50th Anniversary of the Studio Glass Movement in The United States, September 9-October 21st.  Hint: Deadline for submissions is July 15th!  

And then....our OWN homage to 50 Years of Glass with the AGASC Members Exhibition in Gallery 21 at Spanish Village October 24 through November 4th.  Bravo Marti Blair and her intrepid crew for all their hard work.  Put your skills to the test!  Express yourself!  

beidh muid a dhéanamh ar ealaín!

Kathleen Mitchell
President, AGASC



Pacific Art Glass AGASC Event   
             by Jon Simpson


   On Saturday, May 5th Jack Wade, Paul Czajkowski and I headed north to Pacific Art Glass in Gardena, CA to meet up with about 15 others from the AGASC for a fun packed day.  Since this was my first time at Pacific Art Glass I had high expectations and they were exceeded.  When we pulled up it looked like your typical warehouse, but upon entering we quickly learned it was anything but.  We met up with Susan Hirsch, who was instrumental in getting John Williams, the owner to set aside the afternoon for the AGASC. 


   While she and others went next door for some great Italian food we were left to start shopping.  Fortunately the store was divided into three sections:  the front was tools and supplies, the left was all COE 90 and the right was all COE 96.  I was like a kid in a candy store going up and down the aisles looking, inspecting and contemplating all the sheetglass, the rows of frit, the aisle of dichroics, tools, kilns and whatever else we could find.  When we had finally gotten it all together we made our purchase and headed for the demonstrations of lampworking and hot glass.


   At the hot glass demonstration they were letting AGASC members take turns making stringers for their fusing projects.  We had so much fun and lots of laughs as Marcy Stinton, JoAnn Pastori, and Connie Govier took turns with the blowpipe first getting a gather, then the colored powders and then using jacks to pull the glass in strings twirling them, then cutting them with the shears.  Try as they might to hit the metal table with the glass there was always a few stringers that would crash to the floor and break.  We didn't even get to the lampworking, but from what I understand they kept them mesmerized with the making of beads and marbles. 


   At the end of the day John Williams was kind enough to give us a tour of the whole facility.  First we started in the front room which houses the store.  Besides the lampworking table with several torches, the hot glass area which we had been in, we saw a kiln large enough to park two small cars in.  Then we left the "store" and went in the back rooms of the warehouse.  We started in the beveling room, which had several large machines used make bevels of all types.  Then we went into the water jet room, where there were two large computerized machines where they cut the dichroic firesticks and other shapes and can make pattern cuts to any glass.  We finished in the meeting room which has much of their art glass collection which were absolutely spectacular.


   Thank you to John Williams and his staff and Susan Hirsch for a fun filled informative day.  I can now say I've been to Pacific Art Glass and I'll be back. 



 For more pictures click here 






 Art Glass, Supplies

and Classes 


125 West 157th Street
Gardena, CA 90248

phone (800) 354-5277

or (310) 516-7828  







 3610 SE 21st Ave

Portland OR 97202

(503) 232-8887



805 Early Street, Bldg E

Santa Fe, NM 87505

(505) 467-8951






2139 N. Kerby Ave.

Portland, OR 97227 USA

Phone 503-284-4900

FAX 503-284-7584





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 A new generation of self-oiling professional glass cutters  





Pat's 1502


Stain Glass & Repair  



2176 Chatsworth Blvd

San Diego, Ca 92107

619-223-1895 or 619-224-4622  






cutting edge logo 



email - info@redhotmetal.net   





4225 Thurmon Tanner Parkway, Flowery Branch, GA 30542






Division of Clay Art Center, Inc.

2636 Pioneer Way East

Tacoma, WA 98404 United States

800-952-8030 or 253-922-5342

Fax 253 922-5349 





June Workshop - Images in Glass
at Rayzist Photomask in Vista with Susan Hirsch   

     Rayzist is hosting a half day workshop demonstration by Susan Hirsch, available to AGASC members to explore creating images in glass using the Rayzist films and sandcarving techniques.  I have been experimenting with the Rayzist photomask films and creating deep imagery in layers.

     The photomask and sandblasting  technique allows you to create detail line drawings and screened images in your fused glass. You will learn how to process your image, print a negative and expose onto the photomask material with their Letro-light film exposure unit. The mask is then washed and dryed. We will apply the resist film onto a  smooth Uroboros fusible glass and sandblast to create depth. The mask is then removed and glass cleaned.  We will squeegie on fusible inks, dry and clean off excess creating a beautiful image in the recessed areas.

You will be able to take your finished image home to tack fuse then add to a piece.  It is very similar to the technique used for hundreds of years in traditional Etching and Printmaking that uses copper plate.

Workshop location:  Rayzist Photomask Inc 955 Park Center Drive  Vista, CA 92081
Saturday June 30 10:00am to 2:00pm  Limited to 15. $10.00 materials fee.

Sign up by emailing artglassassociation@gmail.com (Subject signup for Rayzist workshop.)


July Meeting and Bullseye Reactive Glass Lecture
presented by Devon Willis of Bullseye Glass

      Devon is going will bring 23 fused samples that are 6"x8" each as well as their corresponding cold layups. She will show a 8 minute video discussing glass to glass reactions and then go to PowerPoint to talk about metal to glass reactions between copper leaf and silver foil and glass.

     After that is complete we go into the interactive portion.  After the presentations we will explore the glass samples and determine what is going on in each fused piece and explain how the individual sample was created. 

     Everyone will receive two handouts detailing how to create these reactions:
One is a multi-page packet with images of every sample on the tables, a multiple choice section where the individuals will fill out what chemical colorants are involved in making the sample as well as space to determine which of these interacted to create a visible reaction.  
The second handout is a single sheet with all our styles divided up by their chemistry.

July 22 at 1:00 pm at Rob Morey's Studio 240 South Bent Ave San Marcos

Click to download Bullseye Reactive Glass PDF files 


Another Successful Patio Show and Sale... by Marti Blair  


This year's event was a beautiful representation of both Guild and Non-Guild members of AGASC for the first time. We think this is a step in the right direction for our organization and applaud the decision makers!! The Jurying took place as usual and did take into consideration the quality of the work presented. There were over 30 exhibitors altogether.

As a result the show was beautiful in its diversity and several members who had never shown before at the sale were able to participate. In walking around, I was struck by how much work goes into staging the show: not only the creation of the work itself, but the effort to set up and take down a show. I was very impressed by the work in blown glass, fused constructions, and jewelry.  

 I also took time to ask a few of the members about their expectations for the show. I was there at the last hour or so and able to ask several artists if they were pleased with the results of their sales. There were a variety of answers from "I made my personal goal" to "I didn't really have any expectations". I was trying to get a feel for how much the artists expect to sell in a two day show of this kind. It was not easy. Some felt that $600 was a good show, another over a $1000.  

In one case, I understood that pricing is an issue to be learned and dealt with. How do you price your work? What makes your pricing effective? I thought a number of artists really offered close to discount prices, some were unsure how they should price it, while some of the seasoned veterans seemed to price at general market rates and showed high quality work. I learned too that some artists just want to get rid of inventory and price low to sell more work.  With the low pricing you could purchase a blown glass vase for maybe $40-$60, or on the other hand you might see blown vases for $400-$600 and up. It becomes a matter of perceived value: as educators about the glass arts, our pricing tells the public what they should expect to pay for high quality work, or that they are paying low prices for less than high quality. Bill Matulich attended a special workshop to learn about pricing. Ask him for details!! 

As we all know, one of the great benefits of the AGASC is the community of glass artists that develop friendships and just enjoy working together on the shows. The enjoyment factor seemed very high, regardless of sales, and regardless of pricing. Congratulations to our members on their efforts and their success. We look forward to the next Patio Show & Sale!


      An Afternoon at Palomar College Hot Shop!
                                    by Sandy Levin

What do you get when you mix Boyce Lundstrom, Patrick Lundstrom, stannous cloride, ferric chloride and denatured alcohol?  A whole lot of iridized float glass!

Thanks to last minute arrangements with Garry Cohen, Head of the Glass Department at Palomar College, Boyce and Patrick put on a fiery show!  A small group (Marti Blair, Dana Taylor, Cynthia Swan and me) accompanied Boyce and Patrick, cameras, float glass and chemicals in hand as we wound our way to the hot shop.  There we were met by Barry Reed (formost fumer and iridizer), Bernadette Reed (Manager of the program), Ray Warner (former stained glass instructor) and several of their students (William Slaybaugh, Chris Estela, Tyler Whitlock, and Elizabeth Pourat) who assisted in the grand event.

This was my first visit to the Palomar College hot shop and I marveled at the quietness of the furnaces as we arrived.  

Raku Glass posters covered the walls.  Students milled around, talking quietly as we walked in.  Then the fun began.  For the next three hours, the activity was non-stop.

After some consulting on logistics, the float glass heated in an oven as Patrick and Barry mixed the stannous chloride iridizing solution.  Don't ask me how much they mixed or how they measured, a little of this, a little of that.  If you want to try this yourself, check out Iridizing solution in the Glossery of Boyce Lundstrom's "Kiln Firing Glass" Book One.

Bernadette lit the glory hole and the flames rose so high it scorched the metal above.  

The team pulled off the event like a choreographed ballet.  William pulled the sheets of glass in and out of the glory hole and ovens; Patrick and Barry sprayed and sprinkled chemicals on the hot glass; Bernadette, Chris and Tyler managed the doors to the glory hole, and ovens; Elizabeth manned the fans to blow the chemical fumes away from all our masked faces; and Ray fired the weed burner/torch while the rest of us snapped hundreds of photographs and watched in amazement.

Each sheet of glass was sprayed in different variations with stannous chloride and ferric chloride solutions.  Some of the glass was sprayed with Barry Reed's very own mix called 'bug juice'.  Barry sprinkled some magic ferry dust (silver cobalt blue, Iris Gold reactive and other glass frits with silver and gold) on several of the pieces.  Some of the glass thermal shocked when the glass was placed directly on an insufficiently preheated kiln shelf.  After trail and error, fiber blanket pieces were added to the kiln shelf under the glass with much better results. Sometime the glass was reduced in the glory hole more than once.  Sometimes (as in the case of adding the bug juice) it was sprayed on the glass and put in the kiln for cooling without additional reduction.

The pictures tell the story the best. 
palomar irrid 


Welcome New Members!  


Rosemary Stark,   Taryn Bertolino,  Mona Sturges,  Cynthia Ann Swan,  John Wisniewski






JUNE 13-16          Glass Art Society 42nd Annual Conference
                              Celebrating the 50th Anniversary of Studio Glass "Roots" in America
                              Toledo, Ohio    Link to Conference Website    

JUNE 30                Images in Glass - Workshop at Rayzist Photomask by Susan Hirsch
                              10:00-2:00   Limited to 15   Materials fee $10.00
                               955 Park Center Drive Vista CA

JULY 22                 Bullseye Glass Demonstration by Devon Willis and General Meeting
                               1:00-3:00  at Rob Morey Studio
                               240 South Bent Ave, San Marcos, CA. 92078

OCT 24- NOV 5     Annual Member Show  Studio 21 Spanish Village Balboa Park 


To submit events that may be of interest to our members contact
our AGA Newsletter Editor Carol Korfin   



Share your experiences at a workshop, show or event with all of us at AGASC!

              This is your newsletter...  We would love to hear from you!  


              Deadline for Articles and Events for August-September Issue is July 15   



Carol Korfin Newletter Editor
Art Glass Association of Southern California