Pilchuck Auction 2011

November 15, 2011

By K. Leah Duperreault

 

 

Friday October 14, 2011 marked Pilchuck’s 33rd annual auction and I was lucky enough to be able to attend.

 

 

Pilchuck Auction Westin Hotel, 2011, K. Leah Duperreault

 

 

A big part of the auction are the centerpieces which are created by the Poleturners Union, Local 1201.  Poleturners are an international group of volunteer glass artists who gather at Pilchuck in May every year to create the centerpieces that are on each table and are available to be bid on at the auction in October.  Being a member of Local 1201 myself, as well as a contributing artist, it was very special to be a part of the creation of the centerpieces and then to see them displayed so brilliantly in the Westin Hotel, downtown Seattle where the auction is held.

 

 

Contributing Artist tag, K. Leah Duperreault

 

 

It is an amazing night that always goes by too fast, in a whirlwind of glass, food and beautifully dressed people.

 

 

View of Silent Auction from table 18, K. Leah DuperreaultSorbet, K. Leah Duperreault

 

 

If you’ve never been to Pilchuck or attended the auction I really encourage you to go.  There is something very special about Pilchuck; you can feel it the moment that you first arrive on campus.  Donating a piece to the auction or volunteering your time both help to ensure that Pilchuck will be around for many more years to come.

 

 

Me & Dale Chihuly! K. Leah Duperreault

 

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Bead Classes For The Masses at Bavin Glassworks

August 1, 2011

By K. Leah Duperreault

There are many reasons that you may have heard of Bavin Glassworks.  It has been a family-run hotshop and gallery for the past 22 years.  It is located in Invermere, BC in the beautiful Columbia Valley and it is a place where you can find local and regional art as well as a handful of local artists.  One reason in particular though is their ability to involve and include the community that they are a part of.  Being located in a resort town means that tourists and locals alike are a part of that community.  Having the hotshop open to the public allows the thousands of visitors every year to learn a little bit about glass and what goes into glass making.

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In late 2002 Pat, Bonnie and Ryan Bavin, together with Leah Duperreault began working on a different way to educate visitors to the glass shop and in early 2003, Bavin Beadworks began offering classes in glass beadmaking.  The Bavins came from a ski industry background so it made perfect sense to run Bavin Beadworks much in the same way that a ski school runs at a ski hill.

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The classes were developed and taught by Duperreault, and she, in turn, trained the instructors that followed, ensuring that each of the more than 3,000 students they have taught over the years received the same level of instruction.  In 2005, the Bavin Glass Cabin opened up at Panorama ski hill which provided two locations to offer bead classes.

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The three-hour introductory bead class is the core of the Bavin Beadworks program, and can be taken by anyone over the age of 16.  Three students at a time allows for each student to receive personal attention; rental space is available after having taken a class.  As well as making beads, students are encouraged to try making jewelry or accessories from their beads with help from the knowledgeable staff.

Given the fact that Invermere is a resort town and Bavin Glassworks is a destination, the bead classes offer something to do while on vacation in the Columbia Valley.  Also offered are intermediate classes, private lessons and soon they will offer five-day workshops.

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Day Tanks vs. the Free Standing Crucible Furnace: Current Considerations

June 1, 2010

By John Chiles

In a glass making studio often one of the largest operating costs is energy, and the largest energy user is the furnace.  There are two types of furnaces commonly used in small studios: day tanks and free standing crucible furnaces. (For a number of reasons, an invested crucible furnace is considered a day tank). In most of the world, the most common type of furnace used in art glass studios and factories is a freestanding crucible furnace.

Here are a few points to consider when making a decision about what type of furnace to use:

  • Insulation of tank furnace walls fail progressively over the life of the furnace. In a day tank or invested crucible furnace, the refractory lining that is in contact with the glass is also the furnace wall. A typical day tank insulation schematic starts with the glass contact refractory, backed up with super duty castable and insulation bricks on the outside. Eventually the lining cracks and glass starts to migrate through the cracks and into the backup insulation, washing stones and cords back into the tank every time the furnace is worked down. Because hot glass is so corrosive, cracks get bigger and the problem steadily gets worse. The glass seeping through the cracks also eats away the brick behind the lining and will eventually saturate the entire insulation layer. As this happens, the insulation layer stops working as insulation and becomes a heat sink. The brick behind the glass contact lining in every day tank I have ever taken apart has been completely saturated with glass.
  • Free standing crucible furnaces can be insulated to a greater extent than day tank furnaces. In a free standing crucible furnace, the glass is not in contact with the furnace wall and therefore it is possible to insulate furnace walls to the maximum.
  • The expected life of a free standing crucible furnace is much longer than that of a day tank. The typical life of a day tank is only five to seven years. Over a day tank’s lifespan the glass quality steadily gets worse and the energy bill steadily climbs higher. In the end the combustion system and furnace get torn down and most of it is thrown away. With routine maintenance and repair the life of a crucible furnace is measured in tens of years. Many of the furnaces we have built are over 20 years old and still producing glass every day.
  • Maintenaning a free standing crucible furnace can be simple and easy. In a well designed furnace the floor or sump under the crucible is sloped to the front for easy draining and cleaning while the furnace is hot. Traditionally the front face opens for easy access to the inside of the furnace and for changing the crucible. It should never be necessary to pound out the glass, or dismantle the burner system.
  • Free standing crucible furnaces use less energy and are quieter. Because it is possible to use more insulation and the crucible is heated from all sides, a smaller capacity burner will melt the same amount of glass in a shorter period of time. In Europe, where energy costs are typically two times higher than in the US, most glass factories and schools use free standing crucibles. This practice is driven by a need to be as efficient as possible. A smaller burner will also reduce the noise level in a shop significantly.
  • Free standing crucible furnaces consistently provide better quality glass. Because the crucible is heated more evenly there is better glass circulation in the furnace, which leads to a reduction of cords. Replacing the crucible when it wears out eliminates the problems associated with a cracked lining – fewer cords and stones.

 

  • Round bottom crucibles have more accessible glass than square sided day tanks. Because the shape of the crucible allows more complete access to the glass, a  500 lb. crucible is similar in useable volume to a 700 lb. day tank. For instance a 700 pound day tank with three inches of glass in the bottom will contain 175 pounds of glass. A 500 pound crucible with three inches of glass in the bottom will contain less than 30 pounds.

Fifty years ago in Toledo it was demonstrated that it was possible with very little knowledge to put a small day tank furnace together with bricks, stick a burner in it, and melt glass. With the development of fused cast refractories, building a day tank got even simpler and more accessible. These are technologies that were originally developed for very large furnaces and scaled down so that they could utilized by artists with very little technical experience. There was very little information available about crucible furnace design and operation, and initial attempts at using crucible furnaces in the small studio were frustrating.

The most common concern about crucible furnaces is that the crucible will break in the middle of a busy production schedule or school session. This fear of unexpected down time has lead to the use of day tanks in this country. During the last 50 years the cost of energy has been low enough in this country that the higher operating cost of a day tank was justified by the fear of a crucible breaking. Our experience is that crucibles rarely crack.  In 30 years of building furnaces I’ve seen crucibles fail from cracking very rarely, and in most cases the failure can be traced back to the initial heat up. If a crucible is not heated slowly and evenly stress will be introduced as the temperature is raised from room temperature to red heat. This introduced stress may cause the crucible to fail right away or after several months.

In a properly designed furnace the crucible can be heated evenly and slowly. Recommended heat up for a crucible is 25 degrees F and hour to red heat. Once it is above red heat the crucible is relatively ductile, not brittle. I have tried to break an old crucible while it is still hot in the furnace and it took a pretty hard hit with a ladle before it failed. If you leave a crucible in the furnace long enough, it will develop pinholes or wear through. We recommend changing the crucible yearly but we regularly hear from customers with crucibles that are 2 or 3 years old and still going strong.

The second most common concern is “We need a lot of glass–a day tank or continuous melt furnace is the only type that will fill our needs.” Large volumes of available glass can be achieved by using multiple furnaces. Using multiple furnaces also allows flexibility to meet demand, as furnaces can be turned off when not needed. This is the way that it is currently done everywhere except in the United States.

Here are some additional suggestions for reducing energy usage with your furnace:

  • Turn the furnace down when not in use, weekends and nights. During longer turn downs of more than a week turn the furnace off. Our practice is to turn the furnace down to 1600 if we are not using it for a couple of days and 1800 overnight if we are not charging.
  • Use a stopper and insulated cover on the furnace door when not in use.
  • Install a damper on the flue and use it to control the pressure inside the furnace. Glass furnaces should always be operated with a slight positive internal pressure. A flue damper does not have to be more complicated than a piece of kiln shelf on top of the flue.
  • Use a temperature controller or at the very least use a temperature indicator.
  • If the furnace has a forced air burner, use a variable speed blower and turn the glory hole blower off when not in use.
  • Use a recuperator to preheat combustion air with exhaust gas after it has left the furnace.
  • Examine your melting cycle. In many cases it is possible to melt at lower temperatures for a shorter period of time without affecting glass quality–in fact it may be possible to increase quality because you decrease the likelihood of cords caused by the fluxes in the glass batch attacking the glass contact refractory.
  • Install an operating system on doors so that they are kept closed unless being used. We installed an additional door operated by a foot pedal on a 6 1/2” diameter opening in a furnace front. The result is that the furnace was able to maintain the same operating temperature with a lower input equal to 3 gallons of propane per day. That’s 660 gallons operating 5 days a week for 44 weeks.
  • Keep track of your energy usage. If you are using electric or natural gas you already have a meter. If you are using propane, have a meter installed.

The chart below summarizes a section of a report on the business practices of a mid sized glassblowing studio.  Since equipment and energy are major costs of running a glassblowing studio this comparison was central to the report

 

From an economic stand point there is no doubt: a Free Standing Crucible (FSC) Furnace will save you money over a Day Tank  (DT) furnace.  Further a FSC furnace fitted with a recuperator promises a further fuel reduction of 10-20%.

At the time the report was written this studio ran a 700# tank furnace and a 350# Invested pot tank, and seven glory holes.   The equipment section of the report focused on furnace comparison cost estimates of the existing 700# tank to a 500# FSC furnace.  Using a conservative estimate for FSC furnace life (10 years) and a conservative figure for gas saved over a day tank of similar size (20%) one can see that the FSC furnace provides significant savings over the life of the equipment.

This chart is based on projections from a specific scenario; it is shown here to illustrate the potential savings from building a Free Standing Crucible furnace.

10 year equipment cost FSC Furnace Day tank Furnace
Purchase cost* $27,800 $15,000
Life Estimate 10 yrs** 3 yrs
Crucible cost 1 per yr 10 yrs $15,000  
Cost after 10 years $42,800 $50,000
Natural gas costs FSC Furnace Day tank Furnace
Per Year $44,479*** $55,598****
Cost after 10 years $444,787 $555,984
10 yr cost equipment and energy FSC Furnace Day Tank Furnace
10 Year subtotal $487,587 $605,984
Yearly Cost $48,759 $60,598
Monthly Cost $4,063 $5,050

Total yearly savings = $11,842

Total savings after 10 years = $118,397

The payback period for a new FSC furnace is 2.35 years.

*Purchase cost includes recuperator, Burner, and crucible.

**With proper maintenance a FSC furnace can last twice this long or longer.

***Twenty percent saving is based on proven fuel savings with FSC furnaces.  This does not consider the saving of 10-20% gained by recuperation.

****Based on actual natural gas used in 2000 @ $1 per therm.

John Chiles runs Hub Consolidated in Orwell, Vermont.  You can email John at john@hubglass.com, or visit Hub’s website at http://www.hubglass.com

 
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HXTAL NYL-1 Education Promotion / Promotion de l’éducation

January 1, 2010

His Glassworks, in conjunction with HXTAL Adhesive, LLC announces their Education Promotion for qualified Educational Institutions.

  1. If you are a college, university, or studio that teaches classes utilizing HXTAL NYL-1, then any kits purchased for resale from His Glassworks along with any A-1100 Amino Silane, bulb pipets, glass stirring rods, DW100AX digital scales and mixing cups will receive a 30% discount off the retail price.
  2. With your initial HXTAL kit purchase, His Glassworks will also donate a 1 pound kit of HXTAL NYL-1 for the institution’s use for their classes. This donation is a one time offer for the first order placed under this promotion. Any subsequent kits would fall under the 30% discount structure.

This is an excellent way for your university or studio to expand the knowledge of the world’s best optical epoxy, HXTAL NYL-1 and also enable you to make some extra money from your classes by directly supplying your students with the tools they need once the class is finished.

To take part in this promotion, just give His Glassworks a call at 828-254-2559 or 800-914-7463 or  email them and let them know you’d like to take part.

Bob at His Glassworks demos the mixing and use of HXTAL.  They have a great library of demo’s on YouTube, sorry all in English, check ‘em out, or come visit him at the Tech Display at the Conference in Montreal, May 26-30, 2010.

His Glassworks, en liaison avec HXTAL adhésifs, LLC annonce la promotion de l’éducation pour les institutions éducatives qualifiées.

Si vous êtes un collège, une université ou un studio qui enseigne les classes utilisant HXTAL NYL-1, alors toutes les kits achetés pour la revente de Sa verrerie ainsi que tous les A-1100 Amino Silane, pipettes ampoule, verre barreaux d’agitation, des échelles numériques DW100AX et récipients de mélange recevront un rabais de 30% sur le prix de détail.

Avec votre achat initial kit HXTAL, Son Glassworks fera également don d’une trousse 1 livre de HXTAL NYL-1 pour l’utilisation de l’établissement pour leurs classes. Ce don est une offre une fois pour la première commande placée sous cette promotion. Toute kits ultérieures relèvent de la structure de réduction de 30%.
Il s’agit d’un excellent moyen pour votre université ou un studio pour développer la connaissance des meilleures au monde époxy optique, HXTAL NYL-1 et également vous permettre de gagner de l’argent de vos classes en fournissant directement à vos élèves les outils dont ils ont besoin une fois la classe est terminé.

Pour participer à cette promotion, juste donner sa verrerie d’un appel au 828-254-2559 ou 800-914-7463 ou par email à eux et leur faire savoir que vous souhaitez y prendre part.

Bob à His Glassworks démos le mélange et l’utilisation de HXTAL. Ils ont une grande bibliothèque de la démo sur YouTube, désolé tous en anglais, check ‘em out, ou viennent lui rendre visite à la Technologie d’affichage à la Conférence de Montréal, 26-30 Mai 2010.

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Bronze Pineapple Mold

October 1, 2009

Olympic Color Rods is excited to announce that we are now stocking bronze “pineapple” molds. The mold we currently stock is a 16 point, 4″ mold. We anticipate this line expanding, both to larger and smaller molds, as well as the amount of points in each mold.

The pineapple mold, or balloton mold is one that is highly sought after, and often times very expensive. However, we are able to offer these molds for a very reasonable rate of $250.00 due to the fact that they are manufactured in the US.

Call or email for more info.

Olympic Color Rods

800-445-7742

sales@glasscolor.com

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ICrinklized Dichroic™ Patterns

Any of our patterns can now be “Crinklized.” The result is a heavy, more crystalized dichroic effect with extra sparkle and texture.

page-30-dichroic

Try our new Crinklized Dichroic™ Pattern Galore Starter Pack. It comes in 90 and 96 COE and contains twelve 2” x 4” random patterns, six on thin black and six on thin clear. This is a great way to play around with multiple patterns and see what the Crinklized effect is all about.

As always, full 19 inch diameter round sheets are available for your custom orders.

For information please contact us at

(714) 538-0888.

Or, look us up online at

www.cbs-dichroic.com

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Safety Is The Issue

All of Marzo’s gloves and clothing are cut and sewn to the highest standards using quality material which has resulted in a line of high-heat gloves unparalleled in the industry.

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This 5 finger kevlar glove offers heat, cut- and puncture-resistance and has excellent dexterity. It is available with a longer cuff and in a mitt or one-finger style. Enjoy this Canadian-made superior product for your high heat protection. Made by Marzo Glove Co in Rockwood, Ontario.

519-856-4505 fax 519-856-2280

email ask@marzoglove.com

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New Products From HIS Glassworks

His Glassworks is proud to offer 3M’s Buttercut Sandblast stencil in 12 inch wide and 24 inch wide by 30 feet long.

Buttercut is easily the finest sandblast resist available on the market today and now it’s easily available directly from His Glassworks. Need a smaller surface area? We also carry buttercut by the square foot.

His Glassworks is now offering 3M cerium-impregnated polishing pads in 8 inch and 12 inch diameter. Magnetically backed, you simply place them on your grinder, add water to activate and polish! On small surface areas, the cerium-impregnated disks can polish from either a 270 grit or 325 grit in only a few minutes with little-to-no slurry mess.

New Sintered Diamond slitters are available from His Glassworks. These 1 inch, 1-1/2 inch and 2 inch diameter sintered diamond slitters have diamond impregnated throughout the entire slitter which makes them an excellent choice for cutting small pieces or sprues off your work or even using the face of the disk for grinding small areas.

Available directly from His Glassworks online at www.hisglassworks.com or by phone at 800-914-7463 or 828-254-2559.

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