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Fused Glass You’ve Come a Long Way Baby The Internet & Its Influence on Fusing
by ccvalenzo

Trite but true, the progression and accessibility of glass fusing has exploded across the Internet, television, campuses and the home studio. It is becoming one of the hottest trends in creativity today. Go back in time about eight years ago and the information and resources were limited at best.

About 12 years ago, I went to an art show and bought a 5x7-inch picture frame in cobalt-blue glass, with tiny pieces of aqua dichroic glass fused to it. Little did I know that this initial purchase was about to lead me into not only a quest for this dichroic glass but a career in glass fusing.

I started in stained glass, and if you are any kind of glass aficionado, it doesn’t take much to get you to explore different arenas of creating with glass. I truly believe that stained glass is the basis of so many wonderful creative glass outlets that lead to a whole realm of possibilities and fun for the average person. Many glass art forms have been explored through that portal.

When I started in stained glass, one of my biggest issues was what to do with the wonderful scraps that I just hated to throw away. Well, if I couldn’t use them myself, there were plenty of mosaic artists out there that couldn’t wait to get their hands on my scraps. And then I wanted to find a way to put those pieces together for more functionality and artistry beyond the constraints of soldering, glue and plaster. This is what started my exploration into fusing. But like most folks, I didn’t understand the technicalities behind fusing. I didn’t understand that you couldn’t take a bunch of glass and just melt it together.

As I mentioned, when I first embarked on my fused-glass mission there were very few books available. They were confusing and so technical that it was very intimidating and mind-boggling at best. The graphs and formulations for fusing cycles left me puzzled and exasperated. My creativity pushed me to pursue my interest and I was determined to create some special Southwest effects for entryway panels, so I took a class in fusing.

My first class left me questioning whether I really wanted to follow this art form. It was five hours long, and by the time they explained all the chemicals and techniques I pretty much thought you had to be a rocket scientist to figure it all out. The one thing that stood out about my first class was “Spray A,” which was not only hazardous, but unsuitable for pieces that would come in contact with food. However, it was explained that I needed this spray to keep the glass nice and shiny and free from a potential haze that happens during the fusing cycle..

After we went through about 10 more chemicals and supplies, they put a bunch of glass in front of us and said, “Go to it.” Talk about confused! I remember looking at that pile of glass like it was from outer space. We didn’t use “Spray A” or any other chemicals that day, and I laugh when I think back to that class and my first fused-glass project. Several years later. I still have that bottle of “Spray A” that I have never used!

After that class, as intimidating as it was, I was hooked. I went and bought a tabletop kiln and a large one. I always did think big so I jumped wholeheartedly into it. I took one more class that increased my comfort level a bit, but I still remember the first time I fired up that kiln. Everything I had learned seemed to disappear, and I just stood there and took a deep breath and muddled through it. After much frustration, and piles of educational but not-so-great projects, I was making tiles and projects that were surprisingly nice.

Shortly thereafter more information started to come out, and a cooperative effort among three companies, Spectrum Glass, Uroboros and Coatings by Sandberg (CBS), a new line and coefficient of glass came out. It was called System 96 and was made to be user friendly to the new glass artist. Along with this cooperative, Spectrum established a web site for 96 help and a valuable resource became available. I visited the site often. System 96 came out when the most common glass was known as coefficiency (COE) 90. To explain coefficient simply COE is the coefficiency of expansion or the rate that glass expands and contracts when melted and cooled in the kiln. All glass that is being fused together has to be compatible, meaning the same COE. Today the most commonly used COEs are 90 and 96, which cannot be fused together. I will forego the detailed technical aspect in this article. Within the last eight years alone, Bullseye Glass and other manufacturers were making glass that was more user friendly, in a wide assortment of textures and colors – and it didn’t need as many chemicals for a successful project. Kilns were becoming computer programmable, smaller and portable. This made a huge impact on the functionality of kilns and a more user friendly concept of tabletop fusing was born. It also supported a more experimental environment and encouraged the artist to push the envelope and develop new techniques that would change fusing forever.

Probably the biggest attraction for me to fusing, though, was dichroic glass, the eye candy of the glass gods! I’ll leave the definition and functionality of dichroic glass to another article. I believe that “eye candy” will suffice. Dichroic glass draws you in and mesmerizes the mind while you delight in the colors and special effects. The opportunity to work with “dichro” has drqwn many artists to fusing.

And glass kilns have become more sophisticated and easy to use. Prior to the programmable kiln, you had to use cones when fusing. You would watch the progress until a small triangular cone bent over and you knew the stage and temperature of the kiln. You literally babysat your project over several hours. Now digitally controlled readouts and programmable kilns have revolutionized the industry. The tabletop kiln was born and you could have one in your kitchen. You can put your project in a programmable kiln, leave it to fire, and come back the next day.

As more people tried fusing and shared their experiences on the Internet, sites such as www.warmglass.com began to pop up and information began to flow more freely. Forums sprang up where technique, development, problems, recommendations and discussions took place. They encouraged and nurtured the artist to explore and enjoy new horizons in fusing and related artistry. Fusing took off like wildfire, and as the information became available a whole new era of fusing was born. The industry continues to grow and has become one of the hottest trends today. The accessibility of information and supplies has exploded across the Internet. Even if you live in a remote area where you can’t get to a class, then videos and DVDs can bring the class into your home. College campuses around the country are offering courses in fusing and most have waiting lists, sometimes of several semesters. Supplies can be ordered, help found in moments, and friends across the continents are meeting through glass sites and cooperatives.

The Creative Glass Guild of Etsy has become over 100 members strong in a very short time, and a wealth of information and assistance, along with camaraderie and fun, have brought many artists from around the globe together in a creative environment on the Internet.

Glass fusing will continue to grow, and the resources available along with techniques are growing daily. It is an exciting and captivating art form.

You can experience the diversity of glass and fusing along with other art forms by visiting the many shops and artists in the CGGE group.

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