Glass Fusion Frames and Mirrors

The adult and teen class had a great time learning about glass fusion.


We learned how to cut glass and how to layer it to achieve different effects.

Glass Cutting

  • Cut on smooth side.
  • First cut is a score line – cut from one edge to the next.
  • Hold it straight up and down to make contact with glass.
  • Use running pliers to break the glass – To adjust the pliers, screw it on then back off a bit. Works best when equal amounts on both sides of the pliers. For multiple lines, start in the middle and break into halves.
  • If it doesn’t break, flip over and try on same line from the backside.

Layer glass pieces smooth side up to avoid bubbles.

Glue: Super glue burns off at 400 degrees. Glue on edges not center so it has a way to escape.

Sharpie: Black Sharpie burns off. Colors do not.

Glass Frames


For the first project, we made glass frames/mirrors.  We did this by constructing two layers and tack fusing them together and adding embellishments.

Here is a look at some of the finished projects:











Send me an email if you still need to come and pick up your glass.

Have a great weekend!







Value Portraits with Tessellations

The Wednesday Elementary Art Class completed value portraits with tessellations. This project was inspired by the current exhibit at the Seattle Art Museum which features artist Kehinde Wiley.

Kehinde Wiley

Kehinde Wiley is one of the leading American artists to emerge in the last decade and he has been ingeniously reworking the grand portraiture traditions of Western culture.

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Since ancient times the portrait has been tied to the representation of power, and in European courts and churches, artists and their patrons developed a complex repository of postures and poses and refined a symbolic language. This language, woven into all aspects of a portrait, described the sitter’s influence and power, virtue and character, or profession.

In his consideration of portrait traditions, Wiley has been especially drawn to the grand aristocratic portraits of the 18th century.

The artist began his first series of portraits in the early 2000s during a residency at the Studio Museum in Harlem. He set out to photograph and recast assertive and self-empowered young men from the neighborhood in the style and manner of traditional history painting. Since then he has also painted rap and sports stars but for the most part his attention has focused on ordinary men of color in their everyday clothes. Trained at Yale in the 1990s, Wiley was steeped in the discussions concerning identity politics during this decade and he brings his personal insights and theoretical studies to his practice.

Wiley’s portraits are highly stylized and staged, and draw attention to the dialectic between a history of aristocratic representation and the portrait as a statement of power and the individual’s sense of empowerment. Source


We created our backgrounds out of tessellations – covering a surface with a single repeating pattern without gaps or overlaps. In tessellation designs, congruent polygons fit together like jigsaw puzzle pieces that repeat again and again.


We talked about Escher who is the ‘Father’ of modern tessellations.During his life, he became obsessed with filling surfaces with pictures that did not overlap or leave spaces. Aged 68, he stated, “Filling two-dimensional planes has become a real mania to which I have become addicted and from which I sometimes find it hard to tear myself away.”

In 1925 he produced what was really his first tessellation. It was a block print of ‘lions’ in which the subject interlocked and covered the plane! He block printed it on silk in gold and silver. He was disappointed that people were not impressed.

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Escher died in a home for old artists on 27th March, 1972. He had produced 448 woodcuts, linocuts and lithos and over 2000 drawings. Source

This is how we made our tessellations pattern:




Value Faces

For the faces, we talked about value and used what we had previously learned to paint a value face. I helped them in this process by using the Cut Out filter in Photoshop.


They stayed with one color, which was the opposite in temperature to the background, to paint value faces. This project was a little challenging for this age group but they worked really hard on their faces and hopefully learned something too.


Don’t miss the Kehinde Wiley exhibit at the SAM! It is well worth a drive downtown.

Can’t wait to see you-all again!





Pop Art – Tuesday Elementary Art Class

Sorry for the delay in getting these images posted.  It has been a busy couple of weeks at The Studio as we wrap up the remodel and get ready to move.

I miss all of you so much and can’t wait to get back to class.

For one of the last projects in the Tuesday Elementary Art Class we took a look at Pop Art.


We started the class by talking about Pop Art and Andy Warhol’s famous prints. Pop artists celebrated commonplace objects and people of everyday life, in this way seeking to elevate popular culture to the level of fine art.

Andy Warhol used common everyday objects for his art such as soup cans, cars, butterflies and panda bears. We looked at and talked about his famous Campbell’s Soup Cans paintings.

Warhol’s iconic series of Campbell’s Soup Cans paintings were never meant to be celebrated for their form or compositional style, like that of the abstractionists. What made these works significant was Warhol’s co-opting of universally recognizable imagery, such as a Campbell’s soup can, Mickey Mouse, or the face of Marilyn Monroe, and depicting it as a mass-produced item, but within a fine art context. In that sense, Warhol wasn’t just emphasizing popular imagery, but rather providing commentary on how people have come to perceive these things in modern times: as commodities to be bought and sold, identifiable as such with one glance. This early series was hand-painted, but Warhol switched to screenprinting shortly afterwards, favoring the mechanical technique for his mass culture imagery. 100 canvases of campbell’s soup cans made up his first solo exhibition at the Ferus Gallery in Los Angeles, and put Warhol on the art world map almost immediately, forever changing the face and content of modern art.

For our project we made Andy Warhol inspired block prints.


We choose a simple image to print such as an ice cream cone, cupcake or a coke bottle.   We learned about block printing and how the carved lines will not show on the print. We then printed the object four times and mounted it on paper.






Can’t wait to see you-all again!