Fused Glass UGC Enamel Paint Italian Cityscape

Finished UGC Painted Italian Cityscapes

My first attempt at glass landscapes using UGC enamels.  These might be more cityscape than landscape, but I love drawing all the intersecting lines.  I based my glass sketches on photos I took in downtown Catania, a larger city in Sicily. 

Old Buildings in Downtown Catania, Italy

This Italian city is filled with really old buildings surrounded by newer traffic signs and asphalt streets.  I tried to include some of the architectural detail and some sort of newer vehicle. My drawings were done in UGC Outline Black.  It was hard to decide what to include from the photo and what to edit out.

UGC Black Outline of A Building

After the black was set, I layered the UGC colored enamels to give the buildings depth.  I had to wait for each adjacent color to dry before adding another to preserve crisp edges.

UGC Fill Paint Dry and Before Firing

Here's a photo of the painting process.  I think my favorite tool to apply the UGC enamel is the toothpick.  I try to use a new one each time so the paint pots don't get contaminated.

UGC Fill Paint Wet and Before Firing

Each building was fired with a different kiln schedule.  The colors on the red building did not mature completely before sandwiching between glass layers and formed more bubbles and a different texture.  I'm not sure which firing I prefer.

Sharon Warren Glass | sharonwarrenglass | sharonwarrenglass.com | FluttterByButterfly | Sharon Warren Glass Artist

Fused Glass Workshop in the Harry Potter Closet

The US Navy has moved us from Jacksonville, Florida to Sicily, Italy this past summer.  My glass workshop was downsized from an expansive 2-car garage to a much smaller laundry room closet.  It has a 5-foot door that opens into an awkward space nestled under the stairs.  Oh well.  We are getting settled and my new shop is almost complete.  

Fused Glass Workshop (the Harry Potter closet)

The space might be tiny, but the view from my front door is huge!  Here's Mt. Etna right after a rainstorm.  It is an active volcano so maybe a show is in our future.

The View of Mt. Etna From My Front Door

My new Jen-Ken fiber kiln sits against concrete block and plugs into the highest rated surge suppressor I could find.  I had to leave my big kiln back in the states and can't seem to find a good place for my torch.  I was able to fit 3 storage racks in the weird space under the stairs, I just have to be careful not hit my head.

My Jen-Ken Bonnie Glo Kiln and Glass Storage

I'm using a vintage metal desk for a worktable.  Some of my favorite pieces hang around me and there's even room for more.  A huge plus of a teeny tiny workshop is everything is well within reach. 

My Work Desk

Fused Glass UGC Enamel Paint Trees

More experimentation painting with UGC glass enamels on sgraffito sketches.  I tried to create different effects with varying methods on a series of tree tiles.  Here is the day 26 tree from last months' sgraffito challenge painted with the techniques I liked the most.  This tree was pre-fired and then filled in UGC enamels, painting the trunk in a mixture of browns.  The fence and grass were thinned out and the foilage is a mix of Bullseye frit and UGC paint.

Finished UGC Painted Tree Powder Sketch

Here are the sample tree tiles.   I started by creating 6 - 2 inch by 3 inch glass pictures of various trees to include pine, birch, reflection, fat, skinny and pseudo willow.  These were done with Bullseye stiff black powder and then fired to 1400 deg F for 5 minutes.

Powder Sketch Sgraffito Trees

Different fills were created using different techniques to see how this changed the firing outcome of the UGC enamels.  The UGC enamels were applied to the pre-fired trees in various ways to include working wet on some and allowing sections to dry on others.  The birch trees received powdered enamel foliage while the fat and willow trees were sprinkled with Bullseye frit.  I scraped off bits of the dried enamel on the skinny tree and the willow.

UGC Painted Sample Trees Pre-Firing

Here are the trees after firing them to 1425 deg F for 10 minutes.  I like the gray-browns much more than the red-browns for the bark.  Also, I prefer the colors applied thinly for a watercolor feeling.

UGC Painted Sample Trees After Firing

Test tiles are good, but now on to working in layers.

Fused Glass UGC Enamel Paint Lighthouse

For my first UGC enamel painting, I chose to use my Day 3 glass powder sketch of Cape Zanpa, Okinawa.  I really like the translucent quality of the water, but I'm not sure about the clear frit added to the breaking waves.  I fired this piece to 1425 deg F for 10 minutes.

Finished UGC Painted Lighthouse Powder Sketch

Here is the original powder sketch that was fired to 1400 deg F for 5 minutes.  It retained so much texture that the UGC paint had little valleys to sit in. 

Day 3 Powder Sketch of a Lighthouse Landscape

This is the lighthouse before firing.  The paint was applied with a small paintbrush and kind of drawn out.  I like the spotty coverage on the water, but wish I had applied it thicker over the cliff.

UGC Paints on Lighthouse Before Firing

How to Make Fused Glass Enamel Paint Sample Tiles

My husband purchased every one of the Unique Glass Color Non-Toxic powdered enamels for fused glass.  I was so surprised to see each little bottle filled with finely ground powder and a little overwhelmed at knowing how to use them.  I decided to begin with sample tiles stuck to the glass of a clearance frame from Micheals.

Framed UGC NT Samples

To create a fused glass enamel sample tile for each of the 41 UGC NT line, I first cut 82 - 2 inch by 1 inch tiles out of Bullseye Tekta.  This size allows for two tiles to be stacked for each color with a line painted on top of the glass, a line between the glass, and a sprinkling of dry powder on top of the glass.

Cut Bullseye Tekta Glass Tiles

I mixed the powdered UGC fused glass enamels in tiny little paint pots.  Each container received equal parts UGC Medium and powdered enamel.  These little paint pots worked out really well and were very air tight and spill proof.

Mixing UGC NT Colors

After letting the fused glass enamel dry, the kiln was loaded and the sample tiles were fired to 1450 deg F for 10 minutes.  I vented the kiln about 2 inches until it reached 550 deg F and then I closed the lid. 

UGC NT Color Samples Ready for Firing

Now on to painting, I think I 'll practice on my glass powder sgrafitto drawings from last month!!

Sharon Warren Glass | sharonwarrenglass | sharonwarrenglass.com | FluttterByButterfly | Sharon Warren Glass Artist

30 in 30 Glass Powder Sgraffito Challenge

My collage of 30 glass powder sketches in 30 days.  Thank you to Kelly Crosser Alge and everyone that was part of this challenge.  I already miss it.

30 in 30 Glass Powder Painting Sketches

Sharon Warren Glass | sharonwarrenglass | sharonwarrenglass.com | FluttterByButterfly | Sharon Warren Glass Artist

Day 30 Glass Powder Sgraffito Challenge

Day 30 of the Fused Glass Powder Sgraffito Drawing Challenge 2015, thank you Kelly Crosser Alge for everything.

It has been amazing to be a part of everyone's journey, we began the month with very little powder experience and finished with the creation of self-portraits!  Participating in this challenge has been frustrating and exhausting and entirely out of my comfort zone, but I have totally enjoyed the whole thing.  I am sorry to see the month end and inspired to keep creating.

Glass Powder Painting Sketch Self-Portrait - Day 2

My Photo

Day 29 Glass Powder Sgraffito Challenge

Today's challenge is to begin a self-portrait in glass powder.  Since Einstein was my first portrait in any medium, this is my second.  I tried to take a selfie but hated each one I snapped so I used a photo my husband took at the beach last fall - I think it's easier to see myself through his eyes.  Dissecting my features to create this portrait was painful and adding the teeth in just reminds me of the shark sketch.  After stepping back and taking a look at the progress, my sunglasses seem to be squeezing my brain and I think I have Einstein's jaw line.  I will try some more later.

Glass Powder Painting Sketch Self-Portrait

My Photo

Day 28 Glass Powder Sgraffito Challenge

Day 28 of the challenge - finish up the portrait of Albert Einstein.  So here is a glass powder portrait on a 5 inch square piece of Bullseye lacy white glass.  My husband thinks Einstein looks too young but my daughter likes it.  I'm not happy with the blotchy shadow on his cheek, or the shadow on his chin, or the shape of his forehead/eye but I feel like the more I mess with things the better the chance I screw the portrait up.

Glass Powder Painting Sketch of Einstein - Day 2

Einstein's Photo

Day 27 Glass Powder Sgraffito Challenge

Draw Albert Einstein.  The challenge for today and tomorrow is to do a portrait of Einstein.  I don't draw faces with pencil or pen or paint and definitely not glass powder.  So here goes.  Einstein started upside down.  There is something wrong with the angle of his forehead or the creases of his brow or maybe the length of his face.  I'm not sure but I will work more on it tomorrow and hope no one sneezes and upsets the powder. 

Glass Powder Painting Sketch of Einstein

Day 26 Glass Powder Sgraffito Challenge

Draw a tree upside down, starting with the trunk and drawing the branches out towards yourself.  Today's tree was based on a tree in Charleston, SC that was a beautiful specimen with grand sweeping branches.  I wish I had added the mini because it really gives a reference for the actual size of this tree.  Using my left hand to create the left side and my right for the right side was interesting, my left handed branches felt more organic but not shaded as well. 

Glass Powder Painting Sketch of a Tree

My Photo of the Beautiful Tree

 

Day 25 Glass Powder Sgraffito Challenge

The challenge for day 25 asks that we sketch a tree using our non-dominant hand and assorted tools to manipulate the glass powder.  After yesterday's free form tree, I decided to use a photo for inspiration.  Creating with my left hand was actually comfortable but extremely conscious.  It was difficult to think lefty - my supplies kept ending up on the right side and it was hard to focus on working right to left so I didn't drag my sleeve through the sketch.  Unconsciously defaulting to righty, I kept forgetting and had to turn the drawing upside down so as not to disturb something already drawn.  This drawing took longer than yesterday so when I finally got to the bird my hand was shaking, at first I used my pinky for extra stability and then even my right hand for resting my left wrist on.

Glass Powder Painting Sketch of Wood Stork

This photo of a wood stork was taken at the rookery in the St. Augustine Alligator Farm.  I wanted to include the foliage but my brain was getting tired of thinking lefty and I was afraid to mess everything up.

Wood Stork Photo

Day 24 Glass Powder Sgraffito Challenge

Day 24 of 30 asks that we sketch a tree using just our non-dominant hand and a business card to manipulate the glass powder.  I used my left hand to drizzle powder and then drag a torn business card to carve out the branches and add a little bark texture.  It was so relaxing to just let the business card find the tree in the powder.  Creating from my imagination is much easier than trying to reproduce a close-up of an actual object with a specific shape, definite texture and set light source. 

Glass Powder Painting Sketch of a Left Handed Tree

Day 23 Glass Powder Sgraffito Challenge

The challenge for today is to sketch a collection.  We collect seashells from all the beaches we visit, we keep them in jars and cigar boxes and displayed on shelves.  I love to stare at the growth patterns and feel the worn edges.  My daughter helped to choose these.

Glass Powder Painting Sketches of Sea Shells

This sketch was hard, but they all seem hard to me.  I had issues with keeping the coral in the background and scaling all the shells to each other. 

Sea Shell Collection

Day 22 Glass Powder Sgraffito Challenge

Draw a safety pin.  This was a quick 5 minute sketch that was just about the clean, crisp lines of an everyday metal safety pin.  I used a sifter, a business card and a flossing tool to create softer lines in the shading.

Glass Powder Painting Sketch of a Safety Pin

Day 21 Glass Powder Sgraffito Challenge

Draw a bouquet of flowers in a container.  This was ridiculously hard.  I couldn't decide how to differentiate between flower types, get the size right and still create depth with shading.  My daisies are too small and there are definite petal angle issues among many other problems.  Every time I tried to fix one thing I messed another up so I decided to just call it good for now.  Or maybe I'll add just a little bit more shading. 

Glass Powder Painting Sketch of a Flower Bouquet

The Actual Bouquet

Day 20 Glass Powder Sgraffito Challenge

More flowers for the today's challenge!  I chose an old photo that was taken at Cherry Blossom Festival in Atsugi Japan, 2005.  I tried to capture more depth this time, trying to establish some flowers in the foreground, middle and background.  I used my fingers to drizzle powder and then create the lumpy texture on the branch.  A q-tip was used to make the softer flowers in the background and a scraper from a scrathboard kit was used for the detailed flowers.  A wax carver's pointy tool made the centers and cleaned up some of the shading.

Glass Powder Painting Sketch of Cherry Blossoms

This photo was taken when we had just moved out of the US for the first time and our daughter was 3.  So much has changed since then, but cherry blossoms always remind me that moments don't last very long.

Cherry Blossom Photo

Sharon Warren Glass | sharonwarrenglass | sharonwarrenglass.com | FluttterByButterfly | Sharon Warren Glass Artist

Day 19 Glass Powder Sgraffito Challenge

Today's challenge is to sketch a floral in glass powder.  I created a sketch of a giant white swamp lily I found at the Alligator Farm in St. Augustine Florida.  I stuck my finger in the finished powder drawing as I was transferring it to the kiln.  To make it look more intentional, I dabbed the background more and now the sketch has a sort of textured background. Oh well.

Glass Powder Painting Sketch of Florida Lily

The Original Drawing

Day 18 Glass Powder Sgraffito Challenge

A second try at this weekend's challenge of creating light colored items in the negative space.  The subjects for today are two sea shells we found on the beach at Tori Station in Okinawa.  I had quite a bit of trouble shading for texture and shading for 3-d at the same time, but I'm working on it. I used light peach glass and black powder.  Tools used were my larger sifter, a business card, a scraper from a scrathboard kit, a wax carver's pointy tool and a q-tip.

Glass Powder Painting Sketches of Sea Shells

The Actual Sea Shells

Day 17 Glass Powder Sgraffito Challenge

The challenge for this weekend is to create 3 glass powder sketches of something white.  I chose African irises or Dietes Iridiodes.  I tried to pull the irises out of the negative space while still trying to shade the petals with some veining.  Pushing powder out of the way created a thick petal edge and made them feel heavier than they actually are.

Glass Powder Painting Sketches of White Irises 

I sketched a few white irises that grow near my house.  These flowers seem to bloom randomly and at all times of the year.  They grow like weeds around all the retention ponds in the housing developments.

Sketches of White Irises

White Iris Grass Clumps

Day 16 Glass Powder Sgraffito Challenge

Not really sure which day of the challenge is which.  Here's a powder painting of what I ate, trout.  This sketch was created from my husband's drawing using black glass powder on a 5 inch square piece of Bullseye forest green and fired to 1400 deg F for 4 minutes.

Glass Powder Painting Sketch of a Trout, Before Firing

Glass Powder Painting Sketch of a Trout, After Firing

Day 15 Glass Powder Sgraffito Challenge

The challenge for day 15 is to draw another sketch of something that frightens you.  I drew a brain since all of my fears are just in my head.  That, and I have a huge tendency to over think things.  I used my husband's anatomy book as a general guide.  I drizzled powder with my fingers to create the basic shape and used a business and a wax carver's metal tool to clean up the lines.

Glass Powder Painting Sketch of a Brain