Aymie gets great fume so my advice is not for her, but in my experience, the silver sticks to the glass easier, and the gold sticks to the silver base better than to straight glass. Try fuming gold first, then silver.and with or without gold, cook it in a reducing flame until its no longer a mirrored sheen. If your fume looks like toothpaste, it's way to much. It's so much cheaper than color and I think it looks better. While most people get all excited about every new color, I am cheap, and have spent most of my career experimenting with fume. If y'all have any questions about how to get a certain color, or a certain effect, I am happy to help. That being said, if you love working with fume, it is well worth your time to try the same fume work on a variety of types if clear. Almost all of my fume work is intended to have a full spectrum of colors and I only get controlled results with the BSA. Both react with the silver in a way I find harder to control and unattractive. When I use kimble, I find the colors blend too much and almost everything is a creamy yellow to orange. I end up with white haze and metallic orange when I sleeve or encase it. When I fume with simax, the silver grows way too much and always overpowers the gold in the blended area. I find that it is easiest to control my results with the BSA. Had a hell of a time trying to capture the ghostly blues on the honey comb sections. The colored sections on this one is that alchemy tubing. This piece is a gift for a particularly supportive shop owner Nothing too fancy, messing around with a new way to make fumed lined tubing, I'll try to find some more pics of fume work to put in here too!Īgain I must say, this thread rules. The bridge, feet, carb blow out, and braces for the skull marble are all light blue amber purple. A large carb gives easy control of your pull.Awesome stuff in this thread so far! These are in my thread i opened, but thought I'd throw em in here too! The sherlock is transparent green tube textured, then fumed with gold and silver. Amazing heady work by KZA Glass!Īt 6.5 inches long, 2.4 inches wide, and 3.25 inches tall this is a solid medium piece. Fumicello approaches are all over this with beautiful tones. The honeycomb fuming in the bowl is stellar. There’s a fumed marble on the can with a fumicello implosion pillar. The fumicello is exceptional with gold fume colors that contrast against the blue wonderfully. Green fume sections as borders separate the fumicello of the can from the silver fume. It’s dialed in with an amazing honeycomb fume the color of a blue sky. The star of this piece is the silver fume on the bowl, toe, and stem. This is a beautiful fumed hammer by KZA Glass. He continues to work on his intense color fuming style today in the Midwest. Fuming provides almost limitless variety too. He found various boro colors tended to run in trends, but fuming always seemed to look good and was always desirable outside of trends. Studying there with trial and error on the bench helped him develop his own style on his own terms.Įventually he moved away from working with the array of boro colors, and in to clear boro with fuming as his main focus. He started working with color in boro and learning techniques he read about on GlassPipes, the old Org website for boro artists. There aren’t glassblowing schools available in many parts of the US, or easy access to classes by working artists. Like many glass artists outside of the Pacific NW, KZA is self taught. The relationship people had with their boro glass piece really got his interest. He was interested in several approaches to art as a medium, but kept returning to glass. KZA Glass started working with glass in Chicago during his high school years in the early 2000’s.
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