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Dave Winship of Glass Craft Inc and I have chatted about using Steider Studios Glass Medium with recycled powdered borosilicate glass since I first introduced this medium three years ago.  We’ve run many experiments, culminating in a recent batch of shells that Dave made and sent out to boro lampworkers to further embellish.  The shell above is embellished by Beau Tsai, an amazing artist.

The borosilicate glass shells were made by Dave Winship using Steider Studios Glass Medium, frozen in candy molds then fired at low temperatures.  The piece above was further embellished by Jennifer Umphress, another incredible artist.

“The consensus is that getting the virgin material to lamp onto the freeze & fuse matrix is tricky, but nonetheless possible.”   Photo above is Mike Shelbo’s enhanced version of Dave’s shell.

Imaginative photo above is by John Spencer of Blackey Glassworx.

The temperatures Dave used for boro freeze & fuse shells was in the 1500f to 1600f range, soaking for up to 30 minutes.  Dave advises “Of course the various process temperature and soak times lead to differences in shrinkage and loss of detail – but those are the general profiles folks can experiment with.”

Photo above is Little B’s enhanced version of Dave Winship’s shell form using borosilicate glass and Steider Studios Glass Medium.

Dave has worked for years with Bob Kirby, a very knowledgeable engineer to commodify the recycling of boro. “Bob’s YouTube channel is pure gold”

If you’re unfamiliar with Steider Studios Glass Medium, I use it with soft glass powder to make a paste that I can sculpt, make paste pattern bars; and press into candy molds for freeze and fuse.  As you can see in the photos above its adaptable to borosilicate glass powder as well.

Here are a couple tutorials I’ve written about  using it with soft glass:  Glass Clay, a Step by Step Tutorial using Steider Studios Glass Medium and Using Steider Studios Glass Medium in Candy Molds

Effective 4.1.15 this part of my business is for sale.  I have just sold the last of SSGM and will not be re-ordering supplies to continue selling it.  If I find a buyer I will re-direct all links to the new owner so that my hard work doesn’t fade away.  Thank you so much for supporting my efforts all these years.

Purchase boro powder from Dave Winship of Glass Craft Inc.

Effective 4.1.15 this part of my business is for sale.  I have just sold the last of SSGM and will not be re-ordering supplies to continue selling it.  If I find a buyer I will re-direct all links to the new owner so that my hard work doesn’t fade away.  Thank you so much for supporting my efforts all these years.

It’s finally here!  Today is the first day Steider Studios Glass Medium™ is available!

I’m happy to announce the following tiered pricing schedule with two sizes available: (shipping not included)

Regular size makes 12 cups:

Economy size makes 21 cups:

Non-domestic orders welcome.


Steider Studios Glass Medium™ a thickening agent and binder for mixing with powdered glass.

Applications: Glass Paste or Clay, (sculpting, modeling, pattern bars), Freeze in Candy or Soap Molds then Fuse, Liquid Lines, Traditional Pâte de Verre techniques and more.

Advantages: No residue after firing, no odor, non-toxic, easy to use, ability to carve into and ‘cold work’ dry but not yet fired glass paste or clay; inexpensive; easy to use, just add water.

I’ve spent 10 years searching for the best binder with little or no residue after firing, then 2 more years testing this one.  I proudly offer it to you with the following tutorial so you can see some of the ways I use it:

https://steiderstudios.wordpress.com/2010/05/28/glass-clay-a-step-by-step-tutorial-using-steider-studios-glass-medium/

I asked friends across the US and Canada to try it and here’s what a few of them had to say:

“I wanted to let you know how impressed I am with Steider Studios Glass Medium™.  I have used CMC before, but your product is definitely better.  What I am working on is small sculptures to incorporate into some new pieces.  I can eliminate pouring waxes and making plaster molds, and go straight from the rubber mold to the kiln.  What a wonderful time saver, but more importantly, the sculptures are shiny and not matt, which at times I prefer.”  Avery Anderson, Avery Anderson.com

“Hands down I will buy this product because the results produced are of the highest quality. There is no comparison to any of the other binders on the market. Clear and smooth!” Karina Cross, The Glass Muse

“I’m very impressed with your new binder! It was very easy to get the right consistency to it, and easy to work with…wasn’t sticky or dry, held nicely.” Nicole Hanna, Nicole Hanna Designs

“I find the end result color to be SPOT ON.  I am doing  a variation of  “freeze-n-fuse”  and will continue to tweak and play.  It’s fun to work with and has some great potential for exploration!”  Nancy Barry, Barry Glasseworks

“I found using Linda’s Medium made the glass clay mixture much easier to work with.  I have some new projects on which I plan to use the medium.”  Shirley Hendel

“I love the product. I have carved my own designs, used it in homemade molds, done a little miliefiori, made shapes using candy molds, cut shapes using small cookie cutters, and my favorite way is to pipe it out of a flexible plastic bottle. My mind races with opportunities that this product presents to my glass fusing!”  Shirley Jones, Heart & Soul Studios


I can’t wait to see what YOU do with Steider Studios Glass Medium™!!  If you’d like to share your projects using SSGM, please send photos not larger than 3″ on one side.  300 dpi if you’d like your project using Steider Studios Glass Medium™ considered for future publication; or 72 dpi just to share.  Thank you!

Try it!  I think you’ll like it!!

Effective 4.1.15 this part of my business is for sale.  I have just sold the last of SSGM and will not be re-ordering supplies to continue selling it.  If I find a buyer I will re-direct all links to the new owner so that my hard work doesn’t fade away.  Thank you so much for supporting my efforts all these years.

If you like this post, sign up to receive an email for future posts so you don’t miss anything.  It’s easy, just click the box at the top right of this page that says ‘Sign me up!” and type in your email.  It’s right under the yellow close-up photo of my work.

Effective 4.1.15 this part of my business is for sale.  I have just sold the last of SSGM and will not be re-ordering supplies to continue selling it.  If I find a buyer I will re-direct all links to the new owner so that my hard work doesn’t fade away.  Thank you so much for supporting my efforts all these years.

I’ve been asked often lately about making glass clay (glass paste), so thought I’d give you a quick review:  what it is and how I make it.   I’m heading to Olympia next week to teach the Machine Embroiderers of Oregon and Washington how to make their own glass buttons with it.  I’ve taught this technique nationally since 2004, at the Art Glass Association Conference in Portland Oregon.  This is the first year in the last six that I did not teach Glass Clay (or Pate de Verre Without Molds) at the Las Vegas Glass Craft & Bead Expo; I chose to offer a new class this year instead, while waiting to launch my new Medium.  By ‘launch’ I mean all that a new product entails, including packaging, labeling and marketing.  And after two years of research, it’s almost ready…almost!

Essentially glass clay is glass paste, another form of Pâte de Verre, but without having to make molds.  Certainly not a traditional technique, but a fun, easy, fast way to make small glass sculptures, buttons, beads, and more!

I make a clay-like substance, glass paste, by mixing powdered glass with a liquid binder or medium.  I prefer to use Steider Studios Glass Medium™.  After testing many different materials my new Medium burns out cleaner than anything I’ve ever tried, while still being able to carve more detail into it after it’s dry and before firing.  Most people use CMC, and I’ve heard of and tested many other concoctions that may or may not work for you, but rather than go into them all I’m going to just tell you how I make it, using the best Medium I’ve ever tried.

I mix Steider Studios Glass Medium™ with room temperature or warm tap water (if your water contains heavy mineral deposits, you can use distilled water, but it takes longer to set up…as long as a couple of days!):  Fill a clean jar with a cup of water.  Sprinkle in one teaspoon of Medium for a very thick paste.  (If you live in higher elevations, you’ll need two teaspoons.)

Use a whisk or fork to stir until dissolved, then let stand 30 to 60 minutes to thicken, stirring occasionally.    I like it to be the consistency of jelly.  I have stored Steider Studios Glass Medium™ in my studio for over two years after mixing, but typically it’s used up within a week.  I have used other binders that developed mold and just so you know, the mold adds an interesting patina.  If you prefer a less gelatinous mix, by all means thin it with a little more water.  Also, if you’re planning to use it for liquid lines, you’ll want to dilute it.

Wearing a respirator or N95 disposable particulate mask, place your glass powder into a mixing bowl.  I prefer to use a small glass bowl, but often use a 4 or 8 ounce plastic food storage bowl.  Ratios of glass powder to Medium vary, depending on the powder.  Straight out of the jar glass powder can be as grainy as sand or as powdery as talc.

As a starting point I use 2:1, glass to Medium.  I’ll place 2 heaping spoonfuls of glass powder into my bowl, then drizzle 1 heaping spoonful of Steider Studios Glass Medium™ over the powder.

Using a palette knife or spoon mix well, mashing Steider Studios Glass Medium™ into the glass powder until it’s glossy.  It should be the consistency of cookie dough, or a wet pie crust, holding together when pinched or rolled into a ball.  If it’s too dry, your project will crack; add more medium a couple drops at a time.  If it’s too wet, your project will sink down into itself; sprinkle more powder into the mix, a little at a time, mixing well after each addition.

Once it’s mixed to a consistency that feels like clay or cookie dough you’re ready to play.  You have about 30 minutes working time to sculpt it, make pattern bars or press it into candy molds to freeze, then it begins to dry out.

I mix all my colors  before beginning to sculpt, and wrap each with plastic wrap to keep it wet until I’m ready to work.  I can store glass clay like this for weeks and have left it for up to a year.  It can be a bit sticky, so I work on top of waxed paper to stay as mess-free as possible.

For sculpting I use dental tools, metal and plastic sculpting tools, plastic make-up applicators, toothpicks, kitchen implements and whatever happens to be close at hand.

I’ve made faces, flowers, animals, and small open vessels and bowls.  These small sculptures can be used for door pulls, plant and garden decor, adornment for lidded boxes and much more.

You can press glass clay into candy molds, freeze for an hour or two, then pop it out of the molds.  The advantage to using Steider Studios Glass Medium™ for this application (known as ‘freeze and fuse’), is you can ‘cold work’ the edges and carve in additional detail before firing, after the piece is completely dry.

One of my favorite ways of working with glass clay is making paste pattern bars.  Have you played with polymer clay?  Play dough?  I use the same principles.

Roll it out (or roll it through a pasta machine) between sheets of waxed paper & stack layers of different colors, then slice, re-stack and slice again.

It’s easiest if you roll between two pieces of waxed paper because it can be sticky.

Make what I fondly call ‘Pig in a Blanket’ by making a rope, then wrapping it with a different colored ‘blanket’ that’s been rolled out flat.  Or roll your pigs into many blankets for ‘rings’ of color when you slice.

Pattern bars are sliced with a tissue slicing blade, rolling the bar one quarter turn after each slice so you don’t end up with one flat side.  Use these slices for buttons, beads, cabochons, or as decor for other glass projects just to give you a few ideas.

Make coils or ropes of clay, place different colored ropes next to each other for millefiore.

More food for thought:  add mica!  A little mica goes a long way.   Adorn with dicro slide!  Use a cute scrap-booking punch to cut shapes from Dicro Slide that enhance your design and apply just before firing.

To get a spiral effect, stack rolled out sections on top of each other.

Carefully peel off the wax paper, keeping it close to your work surface.

Then roll it up, smooth out and slice.  The ends will be uneven unless you roll out rectangular shapes instead of ovals.  I slice off the ends, roll them into balls, pushing the colors into a marbled pattern, then flatten them for buttons and cabs.

The next step is to let your projects dry on paper towels.  Use a food dehydrator, or just set them aside for a few days.  In a one day workshop we use hair dryers to speed the drying process.  Once dry, glass clay is very fragile, like a meringue cookie so use care in handling it.  Gently peel off the paper towel from the bottom.  Using an emery board and wearing your respirator, file off any rough edges along the bottom.  Use a wooden skewer to sand off any rough spots in your details.  You can use a skewer or a dental tool to carve in additional lines if desired.  Just remember to take care as it’s fragile.  Did I already say it’s fragile?  It’s very fragile!

When you’re ready to fire, try to fire like sizes and like colors together.  For larger projects or light colors, your soak time will be slightly longer.  I strongly recommend using a kiln that you can watch the progress so you’ll know when to stop and anneal, and you can note the process temperature in your kiln.  Your pieces are going to shrink approximately 25 to 30%, depending on your process temperature.  The longer you soak at process temperature, the glossier they’ll get and the more they’ll shrink.  Vent your kiln until it reaches 1000º while the binder is burning out.  You can ramp up AFAP, but I think it’s better to control the ramp up; and do start peeking around 1200º to 1250º.  Be sure to wear your safety glasses when looking inside the heated kiln.  In my kiln, depending on the size and color, my process temperature is 1300º with a 30 minute soak for small two to three-inch sculptures; or 1350º with a 13 minute soak for beads and buttons.  I anneal at 900º, using Bullseye’s annealing_thick_slabs chart for thickness.

I love introducing people to working with glass powders, whether wet or dry.  I hope you found this post useful.  I have testers working with it across the US and Canada, and am holding off my launch until all results are in.  An instruction sheet, including complete firing schedules are included with each jar of Steider Studios Glass Medium™.

If you’d like to be among the first to know the release date, you can subscribe to this blog by clicking the ‘e-mail subscribe button’ at the top right of this page; or click on my Facebook Business Page (then click on the ‘like’ button to receive updates), where the announcement will be made.

Have Fun!  Be safe, wear that respirator and don’t forget your safety glasses!!  Oh, and I’d be ever so grateful if you’ll tell your friends about Steider Studios Glass Medium!

Effective 4.1.15 this part of my business is for sale.  I have just sold the last of SSGM and will not be re-ordering supplies to continue selling it.  If I find a buyer I will re-direct all links to the new owner so that my hard work doesn’t fade away.  Thank you so much for supporting my efforts all these years.

If you like this post, sign up to receive an email for future posts so you don’t miss anything.  It’s easy, just click the box at the top right of this page that says ‘Sign me up!” and type in your email.  It’s right under the yellow close-up photo of my work.

As Promised….

May 27, 2010

…from my September ’09 “Progression-of-a-project” post, here is the finished project, finally installed this month in the Japanese Garden, located at the OSU Extension office in Hood River.  It’s a small portion of the Master Gardener’s Learning Garden which sits above the Experiment Station orchard.  My glass insert plays a supporting role in Tom Herrera’s sculpture and I’m honored to have it there.  A lovely setting, wouldn’t you say?

Progression of a Project:

September 21, 2009

Insert for Japanese garden sculpture.

Insert for Japanese garden sculpture.  Project for Tom Hererra.

Fellow artist and sculptor Tom Herrera had me make some glass inserts for his metal work recently.  I’ve made dragonfly wings, a couple sea turtles, a deco style guitar replica, and the latest was an insert for a sculpture he’s making for the Master Gardeners’ new Japanese Garden.

He brought me a drawing of his sculpture and we discussed his vision which included the use of triangles and warm rich color.  He wanted a half inch thick  7″ square that would be finished with a half inch metal frame.  Translucency was of utmost importance.

After researching Japanese Garden Design, I chose to concentrate on water and stone as my elements and sketched out a few possibilities.  My color choices representing stone are in keeping with Tom’s vision.

Building the layers

Building the layers

In the photo above, I’m building the layers of ‘water’ using Bullseye’s 1116 Turquoise on top of  clear irid with the irid up so it will sparkle without the glare of the coating being so obvious.  I use this approach often as I love the sparkle of irid but it’s a more subtle effect.

Capping the triangles with more irid.

Capping the triangles with more irid.

Next I clear capped with more iridescent clear glass, but this time the irid is facing down.  Again, this is for subtlety and so the face of the project matches the back.  I frequently check my notes and sketches making sure the design in my head translated to paper is corresponding with the glass (turning out the way I want it to).

Filling in the stone path.

Filling in the stone path.

Now ready to fill in the ‘path’, I’ve mixed 3 to 5 colors each of gray & brown -02 frit (medium) in translucent and opaque; purple and pink -02 frit in translucent and opaque; and a couple off white opaques.  I mix them ahead of time for a more even application of color, alternating between the mixes as I fill the path.

 

 

 

 

 

Ready to fire.

Ready to fire.

The final step is topping the path off with clear frit (I used -03, course) so it matches the front and back with a layer of clear glass to look through before the eye sees color.  You can see the set up inside my kiln, just prior to firing, surrounded with fiber paper and held in place with cut up kiln shelf.

Finished.

Finished.

Forgive the quality of the final image, I was at the end of my deadline so this was taken atop a neutral canvas bag as I delivered it to Tom at Starbucks where we meet for deliveries.  The top image shows how the piece glows in the sunlight which is how it will be viewed.  In this photo I wanted to capture the iridescence.  Tom promises to get a photo to me when it’s installed and I’ll post it here.  When Tom gets his blog going, I promise to link to it so you can see his work!

If you like this post, sign up to receive an email for future posts so you don’t miss anything.  It’s easy, just click the box at the top right of this page that says ‘Sign me up!” and type in your email.  It’s right under the yellow close-up photo of my work.

No Place Like Home

June 21, 2009

Steider.Goddess.Green

It’s good to be home!

Have been at the Becon Glass conference at Portland State University for the last few days.  It was an exhilarating experience and as a result I can’t wait to get some small sculptural pieces into my kilns!  The big news, causing the audience to audibly gasp, was annealing tempuratures have been revised down to 900ºF.  This is exciting news for kilncasters because it shortens the length of time necessary for the project to remain in the kiln cooling.  Simplified, proper annealing is necessary to produce a stress-free glass sculpture that won’t break.   A thick sculpture may remain in the kiln cooling for days instead of weeks with this new development!

Steider.Goddess.Multi-blue

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Wonderful speakers, including Howard Ben Tre, Richard Whiteley, Daniel Clayman, Heike Brachlow, Geoffrey Mann, Jessica Laughlin, among many others.

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Great Technical Display including Bohle AmericaBullseye GlassCovington EngineeringDitore Glass WorksHIS GlassworksParagonRansom & Randolph, & Western Industrial Ceramics.

Steider.Goddess.Yellow

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Spent some fun time with Cindi, Chris, BrendaJudithCynthiaLes and Mel & thoroughly enjoyed meeting & talking with lots of other like-minded folks!

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Will now be in the studio for a while……

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