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Kathleen SheardKathleen Sheard
SAA, AFC, AAB, MPAA Kathleen Sheard
Glass and Graphite Wildlife ArtistKathleen Sheard
 
Overview
The kiln formed glass process used in this work is done in reverse of the traditional method of fused glass. Starting with a clear glass base, various sizes of frit and stringer are layered in an upside down sequence to create initial details in a piece. Each component piece is then fused together, cleaned, and fired additionally with 1 to 3 more layers to add dimensionality.


More Complex Pieces
In more complex pieces this process is taken a step further. Single or multiple panel sections create one image. The individual pieces can be fired up to 7 or 8 times each, adding additional frit and /or stringer in each layer to create depth. The pre fused animal and landscape elements are then laid down on a new clear glass base and additional frit is layered in to create the remaining background. The final firing is face down on the kiln shelf. After this firing the edges of the sections can be beveled or the clear glass border left on. The finished panel(s) are assembled on a wood backboard and/or framed to finish the composition.



Time in the Field
In a workshop called, Wild in Glass From Field to Fuse, students will learn the process Kathleen uses in her own studio to create her miniature wall pieces and larger vitreous wall paintings.

The workshop includes studio time and time in the field. Time is spent in Wildlife Museums, Zoos or Aquariums and/or out in the wild, be it forest, ocean or refuge. The first class day is out in the field where you will take field notes and sketch or photograph subjects of interest. When possible, the class will be joined by biologists, naturalists or other knowledgeable personnel to provide information about the area and the flora and fauna you can expect to see.

From a subjective viewpoint, the student will make observations about the activities in which the wildlife are involved, how they move, their stance and posture, and the surrounding environment that supports and shelters them. Additional research can be required about an animal where one then goes back to the library or on line to gain more detailed information about what was observed in the field.

Back in the Studio
Back in the studio, an artist study is done in glass from your field observations—wildlife or landscape—including the study of color, light and shadow. As time permits one or two other forays will be made into the field during the week and additional glass studies done.

From notes and sketches to artist studies to large pieces, this workshop instructs the students in the same step-by-step process used by Kathleen to produce her wildlife vitreous paintings in glass.

Kiln Cast Glass Sculpture
Kiln Cast Glass is similar to Bronze casting. A model is made in wax or clay. A silicon mold is made if a limited edition is wanted or one can go straight to the plaster mold. Wax is melted out or clay is dug out. The plaster mold is pre dried in a glass kiln. The mold is filled with glass blocks called billet and/or frit and sheet glass. Depending on the over all size, the difference of depths with in the sculpture the piece can be in the kiln for days or weeks. There is the heating phase, then soaking, then two annealing phases and then two cooling phases.

 
 
Direct Correspondence to:Kathleen Sheard
 
Kathleen Sheard
c/o Kathleen Sheard
204 Flower St. Unit 3
Hamilton, Montana
USA 59840
Tel: (406) 375-9028
  Worldwide Nature Artists Group
Email: wildlifeglass@yahoo.com
Home Page: http://www.kathleensheard.com
Kathleen Sheard Kathleen Sheard

 
All rights reserved. All images and text © Copyright  Kathleen Sheard
Member of the Artists for Conservation Foundation www.natureartists.com.