Not trying to be a hater

[Meerkat]

I'm not trying to be a hater about this, so hopefully no one jumps all over me, this is just my feelings. But after hearing about the sea-anenome marble tutorial being in the latest flow, I was very excited for my copy to arrive, which it did yesterday.

I was however very dissapointed that the marble tutorial was the only part of the magazine I liked or had any use for. Maybe its becuase I have no interest in beads or soft glass and thus no interest in using another form of soft glass (satake). Sure it is interesting to hear about glass and what other artists are doing around the world, but I personally buy the Flow and Glassline for technical info and tech tutorials. Now granted there are a lot of bead makers out there, but there are also bead specific magazines and other than the flow and glassline there are not any other boro or lampworking magazines I know of. So it really bums me out when 98% of the magazine is about beads and softglass and the rest only about what I do. I just think a more balanced coverage of topics would be better.

On a final critical note, If I am going to read bead tutorials (to see if I can adapt the techniques to doing something in boro), I really like the tutorials to be clear about what each step is, what is being shown in the picture, etc... Yet the bead tutorials in this issue were all in Japanese with tiny little english comments that often did not really fully explain what was going on in the pics or how to achieve the final outcome look of the bead. And just as a question, why are the tutorials in Japanese but the rest of the magazine in english ???

BTW, the sea anemome tutorial was great, I am very glad to have that.

[ACE]

ya- i had an issue with the Japanese tutorial as well.

[susheke]

Actually there aren't a lot of bead specific magazines out there. I think the Annealer which just started being published is it. There is a bead stringing type magazine that sometimes puts in one bead making tutorial. Usually very basic and only helpful to the (dare I say it, lol) bead ninnys. Do you know of any others?

I can see where you would be bummed out. I'm guessing there just isn't a big enough market for the magazine to be so specific and still make money.

[Greymatter Glass]

Talk to Wil, I'm pretty sure he accept articles from the community - write your own damn stuff if you wanna see more of something in the magazine :)

-Doug

[LewisW]

I would think that the sections about the Japanese beads were taken from articles from Japan that were already printed there. This would make sense.
It would not be cost effective for Will to pay to have someone translate all the text into English.
Soft glass is easily misunderstood. I worked with boro for almost twenty years before i started working with soft glass.Beads are what most people think of when they talk of soft glass. But it is soft glass that lets you sculpt in ways you could never dream about in boro. The longer working time is to your advantage when doing sculptural work.
Learning soft glass beads should be looked at as simply learning the ropes of how soft glass will melt and flow. Then take what you have learned about soft glass and start using it to sculpt. And it is easier to work large soft glass rods( 1/2 and 3/4 inch) in a low teck portacana(rod warmer). This ends up with you working as if you were sculpting from a furnace, but having just you run the whole operation on a smaller scale.
Working with soft glass will make your boro work better.
The scorpion headed woman and the cheeta/ibex piece were made from soft glass.
Lewis C Wilson

[LewisW]

Here is a soft glass sculptutre by Lucio Bubacco.
Lewis

[ech]

How long can you work a peice like those before they have to go back in the garage? Doesn't the whole peice have be kept hot?

[wildrokproductions]

i think someones job is going to their head!!!

[wildrokproductions]

opps wrong meer person but man why take pot shots at the big dawgs

[ACE]

How long can you work a peice like those before they have to go back in the garage? Doesn't the whole peice have be kept hot?

no.

[susheke]

No, you don't have to keep the whole piece warm in the sense you are thinking. You just can't reintroduce it back into the flame. I watched Ro make a sculpture with soft glass and once she finished a section she just kept it out of the flame. Very cool to watch, since I had assumed the entire piece had to be continuously flashed in the flame.

[Robert Mickelsen]

FWIW, I really enjoyed the latest issue of Flow. While it is true that I usually have little interest in the tutorials and wish there were more interviews and critical articles in The Flow, I did particularly enjoy the Japanese tutorials in this issue. I could not resist trying the combed flower bead after reading about it.

Different strokes...

RAM

[LewisW]

The Lucio scene is actually put together mostly cold. Each piece is made seperately working from the body of the piece outward and never going back in with heat as a boro worker might.All the componant pieces are annealed each night. Each piece has an evolio on it. Then a frame work is made and the entire piece is melted together at the evolios. Then the finished work is fired from room temp up to about 880 F . This is above the strain point but below the annealing point for moretti. The piece is held at 880F for about five minutes then cools down over eight hours.
To take the piece up to 950 F or so to truely anneal it would also make it want to slump.So the trade off it to fire up to right under the annealing temp but above the strain temp. It may seem wrong but the Italian masters have been doing this and getting away with it forever.
Lewis C Wislon

[menty666]

I've only been watching for a few issues, but it seems they alternate between stuff and mix it up a little. It's possible this time they just had a whole lot of bead type articles to use rather than other stuff. Last issue had Robert's awesome Graal tutorial. I liked it, but how may bead folks don't care about that and felt the same way and would be happier with a tutorial by Kim Miles on embedding cz's in the glass?

I think Wes mostly does his bugs out of soft glass and they're fantastic.

Of course having said that...yeah, balance would be good. Now if my issue would just find it's way to my mail box I'd be a much happier curmudgeon.

[Meerkat]

opps wrong meer person but man why take pot shots at the big dawgs

I dont know if your referring to me or not, but are you actually saying that no one is allowed to make negative comments about a magazine, express what they didnt like about it, give feedback and so on ? In my opinion that is how a magazine gets better. If I was running a magazine, or doing a podcast or teaching a class or anything I would want to know exactly what people liked and did not like so I could make changes.

And you can plainly see by the opening paragraph and the wording of my intial post that I was not being a dick or taking pot shots, but that I was nicely explaning my views and what I had issue with.

A few months ago, I made a huge post on how blown away I was with Glassline as the last issue was filled with something like 5 or 6 extremly amazing tutorials and I really enjoyed the magazine.

If I am dropping $10 on a magazine (moreso since I am an international subscription), I like to be getting bang for my buck, whats wrong with that. I wasnt taking pot shots or being rude, just expressing myself as a customer.

[David Sandidge]

I too only started with soft glass after 20 years working with boro. I find soft glass challenging and fun.

I liked the issue especially because it spotlighted a great friend of mine who's been blowing glass in Tokyo for 11 years. Keith Bryan is a 2007 Glasscraft emerging artist.

[colonel4bin]

I'm not the biggest fan of the Flow, but they are really one of the only mags for lampers, by lampers! I thought the latest issue was interesting, and I don't think the mag should be rated on what tutorials they include each month, it's nice they even share! I really enjoy seeing the different niches within our art form, after all boro isn't the only glass, and is really the newbie on the block when it comes to tradition and technique. What type of glass we are using is not relevant to the beauty of the end result. To each his own!!!

May I say on a side note watching Lucio work is a work of art within itself! Soft glass is so fluid, and really elegant to see done on a torch, great stuff.

[petto]

Anyone can submit to the Flow, or Glassline for that matter. I did the pumkin articule (which is under tutoriols on the Flow web site). That was alot of fun. They love to get new and varied stuff submitted. Some issues seem to have more stuff that I don't do but then some are packed with boro tech. It all evens out in the end but I can see what you mean.

[Meerkat]

Maybe I didnt make it too clear, I am not anti-softglass or a beadhater or such, I started in boro and boro really interests me and I am far far far far far away from being at a skill level in boro where I feel I can say "ok, I know enough about boro now, let me try something completly different".

Also for me to start doing softglass would be a huge expense and take up room I do not have. I would not want cross contamination, so I would need to build a seperate bench, create a second ventilation system, buy a second torch, invest in a whole bunch of glass and well I simply do not have that kind of money or time and I definetly do not want to do anything that detracts from my boro learning experience.

[petto]

It would be expensive to do a second set up. However alot of the softglass techs can be carried over to boroand vise vers. I try to look at the techs being used not neccessarily the product being made (beads for example) and see if I can trransfer that tech to boro.

[susheke]

I hope you aren't offended but a whole seperate torch for different glass?? Not necessary. I do about 5 different coe systems and use one torch for it all. I just make sure to put away the glass when I am done.

[Meerkat]

Well I feel I would need a seperate bench and I wouldnt want to keep unmounting my torch and moving it to another bench each time I wanted to use a different COE. My guess is your bench is really neat and tidy ? I don't have one of the ultra-slob nasty benchs that have been posted on here, but I am definetly not neat and tidy either. It would be a huge hassle for me to put away all the tubes, rods, and colour I have sitting on my bench each day. But thats just me.

[Spider]

That was some killer info Lewis W. -

The latest Flow is a special issue covering an emerging geo area of glass - nice to hear from people besides the usual Italians, Germans, Czechs - etc

I suppose if you're a boro guy, it is almost like getting a GUITAR PLAYER mag and they have a fricking keyboard issue. As a guitar player, you can get killer ideas from keyboard music - just need that open mind.

Anyway, I liked the issue.

& if your an organized person you can store & work with different kinds of glass in the same work shop.

This blog is fun - you got one thread where all a guy likes in FLOW is the airbubble implosion dillibob - on another thread you got the artist wishing he never submitted it.

Evolios for all,

Spider

[Snurf]

Dondi,

Good to see ya posting....how are ya doing?
soft glass is a blast.. and about half the price of boro color...

just buy a large cookie sheet from the second hand store. put the cookie sheet on your bench in front of your torch.. now just be shure to keep the soft glass on the cookie sheet....you can stoor it elsewhere when working boro

soft glass requires way less heat and flame time to melt!! you need a neutral flame and be shure to heat the rods of color way out in the flame...or they will exexplode on you.

try it and have fun....i'll bet beads are somthing you can actualy sell in the land of Auz..
peace Bryan

[Jones Art Glass]

I have never worker Satake but I a a beadmaker and enjoyed the Flow. Will and Jen have always done a great job of repping for the whole flameworking community and I look forward to their continued support.

I greatly ejoyed the how tos but I do understand to crticism of the captions, and if you are not into beads I could see how this issue might not have gotten your full attention. But take what you can from the knowledge given. Did you see the croosover and lace look they were getting from a soft flame and a tungsten pick?!?!? That tech crosses over into so many applications.... Last issue was dedicated to cold working. I dont do much cold working at all but I still found the issue informative none the less. They also do a women of glass issue.... Again, I'm not a woman but still found it informative and inspirational.

Lewis- I'm blown away by the talent you are displaying (redisplaying) while you are playing with soft glass. Their is no doubt about your Boro abilties so its cool to see you stepping out and doing bugs and stuff also.

[susheke]

Meerkat you don't have to justify why you don't use soft glass to me, but if it is really because you think you need a whole different torch station then the cookie sheet idea works well.
Yes I do have a neat work station, but I have messy friends that just pull out those short sided cookie sheets, shove the other glass out of the way and slap them down. Voila! A whole new layer of glass chaos to play with!

[susheke]

not that I'm trying to convert you but...... want some soft shorts? :D

[Suz]

I was under the impression (and someone else mentioned it earlier) that this was special edition on Satake? Hence all the japanese tutorials etc? And just to reinforce what was also mentioned - there are not a lot of beadMAKING magazines out there - there are a lot of beading magazines, which is a whole different kettle of fish, as the saying goes.

perhap, as has been suggested, they aim to focus on a particular form of glass each issue? I have some early issues that were kindly given to me, and they had a lot of sculptural work, so not things, as a beadmaker, I would be rushing out to try just yet.

For those not on subscriptions, it could even be an advantage - you can just buy the issues that focus on the area you are most interested in. And if you are a subscriber...long term it might balance out, ie over a year, no difference if one issue is boro, one soft glass sculpture, one women in glass etc rather than each issue having one article on each. if you think of a years subscription as a selction of articles, the blance might end up being very similar whichever way they are published? Just a thought.

I havent seen any issues for over a year - you cant buy it out here yet and I wasnt ready to subscribe till publishing got a bit more regular...which looks like its definately getting there :)

[vetropod]

I suppose if you're a boro guy, it is almost like getting a GUITAR PLAYER mag and they have a fricking keyboard issue. As a guitar player, you can get killer ideas from keyboard music - just need that open mind.

I think Spider puts the general sentiment well, although obviously has an open mind about it.

On the flip side of this - I hardly word boro at all (xmas ornaments and the occasional marble) and am NOT a beadmaker (well, a few here and there for fun :o: ) so while I appreciate all of the boro techs in the Flow and Glass Line, it's really nice to see some techs which I can directly apply to my work! Soft glass techniques for beadmaking are also very applicable for surface decoration on sculptural work, as well.

That said, I haven't received my issue of the Flow yet, so I haven't even seen these tutorials yet! :puzzled:


Wes.

[andrew brown]

WOW....

first off .. will and jennifer are a great asset to the community and have gone broke bending over backwards educating us on glass and the different glass cultures out there..there are many other things they could be doing with themselves than making us a magazine... for that we as a community owe them a big thank you.

...with that said....

The japanese make some of the most technically driven, clean, and well executed glass out there.. The cover marble is a boro marble made by a japanese glass treasure Akihiro Ohkama, at the flame off in Tucson. Glass beads in japan go back generations much like the italians and germans.. When higliting japanese glass it would be crazy not to focus on beads and the technical aspects of them.. Lewis made a great point about translating.. We are lucky enough to have the information that they gave us in this issue.. The rainbow cane demo, raked flower changed some of the ways that I work glass now.. Maybe I read it wrong, but what I took from those two articles alone was worth much more than $10
I do shows around the country and have met most of the people mentioned, and have become good friends with a lot of them.. I have many pieces in my collecton from these friends as do they... My japanese beads are some of the best pieces in my collecton... If you knew the money and knowledge that they put into the community ( buying boro tools, torches, color, taking classes, innovating and bringing new ideas from across the world) you would be proud to pick up an issue dedicated japanese lampworking.. It costs money to fly from albuquerque to milwaukee to do a show, imagine flying from japan to milwaukee.. now thats love for glass right there)
The Kobe Museum alone has work from the best boro artists in the world, as well as kinari, moretti, satake, furnace etc.... We are all glass artists, keeping your skill set within one coe is limiting your understanding of glass as a whole.

As for working any of these soft glasses... No problem.. Sweep up your bench and put the frit away and turn your pressures down.. Its that easy... Soft glass pops and throws pieces sometimes when heated quickly... Put your boro frit away, as not to add soft glass pieces, and your safe.... The pan is a good idea... If you cant tell the difference in the glasses, put it in the flame, you will find out quick....

Off to order some annealing bubbles.
Andrew

[Shadow]

Here is another Japanese beadmaker who is just awesome with her precision and technique...

http://www13.ocn.ne.jp/~shiro-ya/indexenglish.html

and also a very sweet lady!!

[UmaJulz]

I thought the latest issue was really informative about the Japanese glass scene and also showcased many of the Japanese glassworkers who had drawn a lot of attention at some of the recent shows and flame-offs- Tucson in particular.I thought it was a nice follow up to the Japanese Glass festival last year where many american glass workers flew to Kobe to compete, teach, and learn. I know that quite a few people had gone there, but hadn't seen any follow up articles on the festival.

the section in the middle that is in Japanese are the actual pages from the recently published Japanese Tonbodama book. The level of translation is typical for a technical book such as that.

I keep all the issues of the Flow and think of them as a great reference resource for what ever I may choose to do in glass. I may not be ready for cold-working right now, but reading about it, and understanding what is involved is still valuable to me.

[menty666]

Hey, I like the cookie sheet idea! I've got 33, 104 and 90 in my shop. The Bullseye's easy enough to pick out because all I have at the moment is sheet glass, but the moretti and boro are sometimes a little tougher to tell apart.

Sorry to be dense, but to my credit I did try google and the search field here before I'm asking. What's an 'evolio'? I'm guessing it's just a little glass tab doohickey thing for attaching later, but it doesn't hurt to ask.

[ACE]

not just a dohicky!! my favorite dohicky. i love avolios.....theyre fabulous....they kind of look like an hourglass shape, with a wider flat disk (not really a flat disk) on each side. if you build them up, which i like doing sometimes, they almost look like spinal chords. i call those avolio sandwiches but i don't think thats the technical term :D

most everybody does them slightly differently, but thats basically what they are..after class i'll find some pics if you want...

[menty666]

sounds like a do it yourself slot A tab B kit. but if you have a picture of one I'm happy to see it. Thanks!

[boxfan willy]

Thanks to Meerkat for throwing it our there. If we had more honest feedback, then we could guide the magazine with more direction from the community. This was the first feedback besides the stickers being on the cover. With that said, I would like to put out a few things:

1. I am primarily a boro worker. I have always loved making functional pieces, especially pipes. I do make pendants, off mandrel, though most of my pendants and ornaments have three holes(haha). I found tons of good stuff in the issue. My brother applied the combed flower to a patch technique. That piece was the first to sell outta the case. I must say that if you don't see anything applicable to your lampworking, I do not understand.

2. The subtitle of The Flow is " A Journal for the Flameworking Community". Boro is not the only glass for flameworking. Pipes are not the only thing that can be made outta boro, let alone glass. If we repped nothing but borosilicate specific techniques, then we would be leaving 60% to 80% of the flameworking community behind. It is our responsibility to represent the entire flameworking community, no matter what my personal roots.

3. This was our first International issue. We knew of the treasures in the land of Japan and were fortunate enough to being aquainted with a few of these very talented artists. Tonbo dama is the Japanese word for lampworking/flameworking, whos literal translation is "glass beads". Glass beads are 80% to 90% of what Japanese lampworkers produce. We would not have representing Japan in any other format.

We look forward to all feedback. It helps us to represent. I would like to leave you with two things.

1. Glass is glass. If you continue to seperate things such as hard/soft and bead/pipes, then it is my opinion that you are limiting yourself and your creativity. IMHO, one of the main factors behind the incredible pipemaking movement is that it is built on a foundation of open-minded sharing of a diverse group of individuals.

2. IMHO, the flameworking movement is likened to a living, growing organism much like an aspen grove. Growth and change are inevitable. It is our responsibilty to be active and aware of our growth to insure a healthy community for ourselves and those that follow.

Peace,

boxfan

www.theflowmagazine.com
www.menziesdesign.com

[wildrokproductions]

i love it when the big dawgs come out!
free lesons in glass life.
this threadhas got me mesn w/ softglass, man i suck at it too. but i;m after the learning exp. and just playing around for an hr. has already changed the way i work boro.
so once agian thanks to the big dawgs!!!

[canaan]

I loved the issue, and I will probably never work with soft glass.

The japanese have a long history of expert craftsmanship, and excel in most of those mediums, although not in a mainsstream capacity.

The precision shown in the work in this issue is a testament to their skill and dedication.

I wouldnt argue with an entire issue full of keith bryans disnley characters. Think about how few people in the world can legally produce those :)

[somberbear]

Be warned Rant

I guess im lucky in the aspect that i have been open and drawn to glass in that there are millions of parts to it... tons of roads and a mix of science and majik. I am by no means a master glass worker. or even that much exp.

With agi i started seeing something as i formed my view of glass. it helping me look and think in a good frame for it. and learning a lot at the time. and i started disliking many things.

I would also say I like how the flow works. but i would love to see tons more stuff as always. so people write up an artical. heck now im even thinking of getting in on some sci glass info. Will keep it up man. one of the best flame working mags out. and good tools to boot.

In short i have come to understand that its just glass.... theres millions of cool and not so cool things you can do to it. but its a medium. and when we classify our selfs to one section off it we are limiting what we can do. i began to realize this while i kept getting in a rut of what i was doing. with agi and seeing other of differnt diciplines around me and how it was just all glass.

Thats why terms and attiudes i think bug me. like bead lady, and boro boys etc. The devisions we are making for our selfs , piper as well. I dislike the attude. Or when people limit them self to one thing.... i think it does a disresepct to the medium.

I enjoy both the flow and glassline. and even there bead issues cause they teach me about glass in general. and the refining of any tech out there will help you know your medium and what your trying to create come out in a more pure way.

i was talking with a noob and i mentioned theres some bead classes local to him... at first he didnt really take me seriously. then he asked about melting things in and working with colors and dots and stuff and i said well make some beads learn how to work your medium. There harder then you think.

There is nothing impossible in glass with knowledge , skill , and vision.

Be a glass worker, dont let your product define what and who you are. but be proud of what you make. make it to your standards. Learn from every one. they all have something to teach.

peace
rob
(PS- no dis respect to pipers consistering thats what i mainly make and how i learned)

[ACE]

i liked the issue all and all, i think all kinds of glass ARE important, i don't just do lampworking... i just want to clarify the reason i said i didn't like the japanese tutorial in the begining of this thread because i wasn't too specific. I didn't like it because i could bareley understand it- i just wish it had a better discription in english as well. now, i'm not an idiot, i can figure out for the most part whats going on as long as i see pictures, BUT:

the next day when i went to try it i had a couple of problems, and it was hard to troubleshoot what i was doing wrong. i'm assuming it would have helped if i could actually read the instructions. i have a great respect for japanese culture, and soft glass so my dislike for that article had nothing to do with that.

just something to think about. and big ups to you will and jennifer, because you guys are awesome for going through all the trouble that you do to get this magazine out, as well as the other things you do for our community......so you have nothing but respect from my end. AND it's super cool of you to come on here and discuss the constructive critism everybody had, so again, big ups.

[boxfan willy]

Amy,

I went back to look at the Japanese articles. You are right in that it is hard to troubleshoot. We couldn't get any unflattened material from them to work with, so our options were not to use it at all or to use the original layout. I am not even sure that we could get translations for those, but I will look into it.

The reasoning for my reply was to let everyone know that we are here for the entire community. We know that we cannot please everyone all the time. We do take our responsibilities seriously and attempt to represent everyone.

One way to guide content is by submitting articles. We do not have many submissions that just come to us. We usually make calls and approach people we meet throughout the industry, then return calls until we get the aricle. Very rarely do we just "get" an article. It does take a lot of effort and "huevos" to throw it out there to your peers. If you feel like we need more boro artticles, then by all means, call us about an idea. Lets get it out there. You would hardly find a person that we turned dowwn if they wanted to submit.

Thanks for the feedback

[skip]

You do a great job.

[Glacier_Arts_Studio]

i would like to say, from reading most of this thread and looking at some of the links, i am more than ever, thinking of exploring the different COE's of this new passion of glass... as an artist, i never intended to ever make pipes but, working with boro is a one way street to them because, of the expenses involved and the over all market for those products is flowing strong....

[gypsea]

i was really glad to see those japanese tutorial articles from that book in the flow...i have been wanting that book ever since i saw it at agi.....and i don't use soft glass or make many beads either....but i can see how to apply those techniques to boro pendants and to boro in general....i learned a lot from this issue....thanks very much wil & jennifer & crew.

[ShttrdSpctrm]

i like the issue, got me wnatin to try other coes. i like all the issues so far , very informative in all. those folks at the flow do a great job.

[Pyroglasstic]

i i never intended to ever make pipes but, working with boro is a one way street to them because, of the expenses involved and the over all market for those products is flowing strong....

Do you always make such foolish statements? So anyone working boro is destined to make pipes? Its only a matter of time?

Jeff

[Islandglass Man]

Every now an then a real glass discussion is posted on this forum this one is very refreshing.

The glass renaissance in the United State has grown since the late 70s to a national movement today.

The Flow magazine is a recent addition to this movement and has grown into a very well round magazine.

No matter what style of glass art or science you spend your days creating everyone in the business needs to grow in there knowledge of glass. The Flow has shown us a sample of many different lampworking communities and I look forward to each new addition.

Personally my goal is to learn and experience as much as I can in the lampworking community and the variety and quality in the Flow magazine articles have increased my curiosity and that is what makes my day.

Bear
lampworking since 1968

[Hot&LovingIt]

I think there is room in the lampworking community for two magazines. The flow is kind of a newby, glassline has been around for at least 20 years and was the first to try to coneect glassworkers and get them to start sharing info. GL played a big part in opening the "glass ceiling" and I just don't get why will and jen are getting so many big ups (as if they are the main source for glassworkers to get info.) I'm not trying to slam them in any way (putting out a mag must be a lot of work!), but I think the publisher of glassline ought to be getting some big ups too. Just got the latest GL yesterday so it's on my mind; it is loaded with informative articles (and also seems to consistently get out on time...)

[LewisW]

I got my first issue of Glass Line in either 1986 or 1987. I wrote articles for it as early as maybe 1990 or so.
I finally was able to meet Jim Thingwald at the Las Vegas show a few weeks ago.We had talked on the phone for over twenty years and i had never met him.
He started working clear boro in the late 1960"s. Maybe 5 -6 years before i started working glass.
He has a knowledge of the people that started our glass world far better than I or many other old times. He had known Harold Hacker for many years. He knew most of the Disney lampworkers before I was there.
I never really did put it together, but Hot and Loving It hit the nail on the head when he said that it was Jim thingwald that was maybe the first to break the "Glass Ceiling".
The original Glass Line was a simple few pages in black and white with a few hundred subscribers. It has had articles from many of the old timers that are now some of our most well known teachers.There were even bead making articles in the early 1990's.
Jim has worked boro almost 40 years. i believe he started in 1968.
It is good to see some of the younger people on this and other forums get to know how Glass Line came about and who Jim Thingwald is.
Both the Flow and Glass Line are a huge help to our community. Many of our best lampworkers are writing for both of these magazines. If it is not a hardship, everyone should subscribe to both.
We will learn the most by trying to give the most. Our students learn from us, and reinforce that what we do is a good thing. These magazines let more know what we have to go through to make something that people will pay money for.
Big thanks to Jim , Will and Jennifer.
Lewis C Wilson

[David]

I got my first issue of Glass Line in either 1986 or 1987. I wrote articles for it as early as maybe 1990 or so.

Volumn 2, Number 3 October/November 1988

How to make an Indian Dancer and a short discussion about health issues.

Good article, thanks to you and Jim.

David

[jokersdesign]

what do you think about the picture of pipes?