What Do You Heart About February 14? 

A quote from Kahlil Gibran says “Wake at dawn with a winged heart and give thanks for another day of loving”. 

I love how the trees look in winter

Rain

Drops of morning dew

Family and friends

I am grateful for those who have shown support of my work and workshops 

Jester’s Gallery, Nashville Tennessee opening February 4 

Remember the song “Day Tripper”?

It may be time for a day trip to Nashville Tennessee to check out Jester’s Gallery, making its’ debut on Thursday, February 4, 2010.  Stop by whenever you are in Nashville and introduce yourself to AL Sherick, the gallery’s owner.  

Jester’s will carry all of my work including small gift items from the studio such as crystal dew drops, other Lampworked itmes, and cast leaves which make great paperweights (and Heart gifts). 

The leaves that I love are white oak leaves from The Serenbe Project and make perfect gifts for (Heart Day) February 14. 

Refreshments will be served during the evening from 6-9 on Thursday, February 4. 

The gallery is located at 5133 Harding Pike, Suite C1, Nashville, Tennessee  37205   A grand opening is planned for later this spring.  We will keep you posted.  

If you are not in Nashville, you can call the studio 205.612.3317 and we will be glad to help you with gifts for February 14.  Sustainable artful gift wrap is available.  

We would love for you to tell us what YOU heart about February 14  your gratitude, Nashville, or anything else. 

About Tara Glass Art Studio

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This is the latest post on the studio processes regarding The Serenbe Project. I talked with Robert Rausch this morning and we have decided that we will be installing on October 30-31. I can’t wait to see the leaves in the natural light. It will be beautiful!

Go here for my lastest post about the studio

http://donnabranchglassstudio.blogspot.com/2008/08/cast-glass-serenbe-project-installation.html

After the Bullseye glass cullet is washed and dryed, I store it like this next to the kiln and the scale so that when I get ready to weigh the glass, I can load the scales, weigh the glass and load the mould from the same place. Also, I don’t have to move the moulds as they are very heavy.

This is Bullseye casting cullet on the left and Bullseye casting billets on the right. Bullseye is some of the best glass made. The billets have been cut on the wet saw, then washed, then stored

Ok, if the cullet is too large, it has to be made smaller and I do this with a sledge hammer and a garbage compactor bag (because they are thick bags). Safety glasses are a must.

I’m crushing the glass a bit here to make it smaller. The very small frit I use to help secure the wire.

These moulds pictured are still for The Serenbe Project. Take a minute and visit the Serenbe Community, it is a delightful place. After the clay model is removed from the glass mould, the moulds have to be checked to make sure there are no undercuts (places where the glass can become lodged). This pictures on the blog tonight show how I finish the moulds.

This is how I finish the edges and remove the remaining clay.

I then brush out the mould to make sure that it is clean before taking a warm damp rag to go over it one more time.

After the mould is cleaned like this, it is ready to be placed in the kiln to be force-dried.

I found these cool little paintbrushes at Harbor Freight Tools. They are good for a lot of things in the studio and they are so inexpensive, I just throw them away!

At this point, the mould is still very wet. The plaster material with which I invest the mould has a very short working time (under 10 minutes on a cooler day). This means that most days in the South, you better have your plan together when you begin to mix, because on a 95 degree day with high humidity, the working time is more like 5-6 minutes. I still like this material very much.

These glass leaves will be installed at Serenbe in late October.

This mould is the round one to fit the kiln. It has been force-dried and is ready to be cured at 1475 degrees for this kiln.

This was a very busy day in studio doing more work on The Serenbe Project , which will be installed toward the end of October. In case you have not read any of my earlier posts about The Serenbe Project , hop over there and check it out.

I was having trouble with the wires, which are embedded in the cast leaves, “falling” to the side. I came up with this solution, shown on the right, I drilled a little hole in the mould, and placed the end of the wire in the hole. So, when the other end of the wire is embedded in the glass, the drilled end acts as an anchor.

This is a close-up of the moulds and the embedded wires. This seems to have solved the problem.

I’m washing all of the cullet, getting it ready to place in the moulds. After I wash the glass, I put the glass in containers which are placed close to the kiln so that it is ready to weigh and place in the mould. This glass is Bullseye cullet for casting.

The other problem that I had was that the moulds that I had made were wasting kiln space (and electricity). The way that I solved this problem was to design a mould that was the exact size of the kiln shelf, which means that it used all of the available kiln space. I “dammed” the plaster with aluminum roof flashing mounted on a round piece of wood (this kiln shelf is round).

This is the new round mould which looks like it was a good solution. The clay leaves have just been removed (to the left of the mould). After trimming the mould with a dremel,
and cleaning the clay residue off of the inside of each leaf cavity, the mould was put in the kiln to dry it. This will take about 2 days. I blogged before about the Castalot mould material that I’m using. I really like this mould material.

More Bullseye glass being washed.

Beautiful Bullseye glass ,washed and ready to fill a mould!

It’s Friday and will be a busy weekend working more on the Serenbe Project. Tomorrow, the studio has to be cleaned and things put back in place. Then, it will be ready to go again.

Previously on my blog I showed how I formed the pieces of plastiscene to fill the crevices in the mold box. This first image shows the leaf in the mold box, which has been “dammed” and sprayed with PAM. I then mix the plaster with an electric drill and get ready to pour.

This picture shows the mold box after I have poured the investment into the box (covered the leaf with the plaster). If you look carefully you will see my respirator, which I use regularly.

Finally I use a level to shim the mold box to make sure that it will cure on a level platform.

This is the mold after the box is removed and the clay (plastiscene) leaf taken out. The clay was removed very easily. I anticipated some problem with this, but had none.

Back to the Serenbe Project: I have been working on the white oak leaf designs, thinking about the sizes and shapes. During this process I collected some white oak leaves and I’m drawing small studies of the leaves. I don’t quiet remember who said that ” it is in drawing that one sees”. Also show in the picture is a sculpted white oak acorn. I continue to study and refine these forms.