>
Michael Janis was setting up a firing the other day of his thick layered glass panels, and the Washington Glass School blog asked how he created his frit powder drawings.
Detailed sketches are created to plan the layout each glass layer. Michael sifts frit powder onto sheet glass and manipulates with an scapel blade tip, scratching the powder until he is happy with the imagery (his version of sgraffito – or ” little scratch” technique.) Each working is fired into the glass, and aligned with the successive panel.
This process can take a number of weeks and requires multiple kiln firings. Once Michael is satisfied with the color depth of the frit powder application, he begins his set-up inside a kiln for the final firing – or full fuse.
The panels are assembled into the kiln, sometimes with clear interlayers.
The top layer is placed in the kiln.
The kiln is then set for a long schedule to allow for proper annealing of 6 layers of bullseye glass.
After the glass cools, Michael then cleans and coldworks the slab, and prepares for mounting into one of his steel frames.
The piece shown here is titled “Somewhere I Have Never Traveled”, and will be shown by Maurine Littleton Gallery during SOFA Chicago.
Imagery In Glass Class
>
Instructor Michael Janis explains how imagery can be fused into glass.
Class 1005 – Imagery in Glass was alot of fun this weekend, a great way to celebrate the end of the blizzard weather the DC metro area has been suffering thru. The class dove right in learning how to use glass frit powder, high temperature enamels, stencils, glass paints and fused glass photo-imagery.
Michael Janis outlines the sgraffito technique
Michael is assisted by artists Chris Shea and Dave Pearcy.
Hands on practice is the best way to learn any new process.
all photos by Tracy Lee