Bob Leatherbarrow: Crackle Texture - Basics and Beyond (waitlist)
E-mail to join the waitlist
Sept 7-10, 2024 ◆ Saturday - Tuesday ◆ 10:00AM - 5:00PM
4 days
10 students maximum
Austin Originals Catered lunches included! (Let us know about any dietary considerations when you register.)
Creating crackle textures with kilnformed glass powders was pioneered by Bob Leatherbarrow who has continued to explore and develop its design potential over the past 30 years. In this four-session masterclass, Bob will share his knowledge on crackle textures starting from the foundations and advancing to complex designs and compositions.
These foundations include learning proper techniques and problem solving so you can control subtle aspects of crackle such as the size of the “islands” in the texture. Layering and blending of powders result in unique colour palettes and Bob will explain the placement of accent colours and the importance of sequencing colour layers. You will also learn how to develop your own unique and reproducible colour palette and work with reactive colours.
With these foundations in place you will discover ways to include subtle veining and “replacement” textures, to isolate the texture in specific parts of the design, and to work with different combinations of textured powder and sheet glass. These concepts will take your crackle textures pieces to a whole new artistic level.
Each session will consist of discussions, demonstrations, and exercises in the Helios Studio that Bob will oversee and provide individual guidance from his home in Canada. Each student will have a personal device connecting Bob to their station so he can follow your work as you work.
More About Bob Leatherbarrow
(from www.https://www.leatherbarrowglass.com/)
My kiln-formed glass bowls, shields, sculptures, and roll-ups explore the subtle colours and delicate beauty of naturally occurring textures and encourage the viewer to ponder their origin.
Textures are a key part of our everyday visual landscape and through them we interpret how objects were formed, or how they evolved. Although textures may have common forms, their origin and evolution might be very different. For example, mud cracks in rocks and the wrinkled skin of the elderly look the same but are formed by entirely different processes. So by recognizing and interpreting textures we can understand and appreciate the stories of how objects and people evolve.
Stories have different interpretations depending on the timing and vantage points of our observations. I have tried to capture this sense of reference by presenting varying degrees of detail in my glass, from veining and blends of colours, to the use of delicate visual components. Thus, my pieces reveal one set of details when viewed from a distance and another set of details that are apparent only when viewed up close.
E-mail to join the waitlist
Sept 7-10, 2024 ◆ Saturday - Tuesday ◆ 10:00AM - 5:00PM
4 days
10 students maximum
Austin Originals Catered lunches included! (Let us know about any dietary considerations when you register.)
Creating crackle textures with kilnformed glass powders was pioneered by Bob Leatherbarrow who has continued to explore and develop its design potential over the past 30 years. In this four-session masterclass, Bob will share his knowledge on crackle textures starting from the foundations and advancing to complex designs and compositions.
These foundations include learning proper techniques and problem solving so you can control subtle aspects of crackle such as the size of the “islands” in the texture. Layering and blending of powders result in unique colour palettes and Bob will explain the placement of accent colours and the importance of sequencing colour layers. You will also learn how to develop your own unique and reproducible colour palette and work with reactive colours.
With these foundations in place you will discover ways to include subtle veining and “replacement” textures, to isolate the texture in specific parts of the design, and to work with different combinations of textured powder and sheet glass. These concepts will take your crackle textures pieces to a whole new artistic level.
Each session will consist of discussions, demonstrations, and exercises in the Helios Studio that Bob will oversee and provide individual guidance from his home in Canada. Each student will have a personal device connecting Bob to their station so he can follow your work as you work.
More About Bob Leatherbarrow
(from www.https://www.leatherbarrowglass.com/)
My kiln-formed glass bowls, shields, sculptures, and roll-ups explore the subtle colours and delicate beauty of naturally occurring textures and encourage the viewer to ponder their origin.
Textures are a key part of our everyday visual landscape and through them we interpret how objects were formed, or how they evolved. Although textures may have common forms, their origin and evolution might be very different. For example, mud cracks in rocks and the wrinkled skin of the elderly look the same but are formed by entirely different processes. So by recognizing and interpreting textures we can understand and appreciate the stories of how objects and people evolve.
Stories have different interpretations depending on the timing and vantage points of our observations. I have tried to capture this sense of reference by presenting varying degrees of detail in my glass, from veining and blends of colours, to the use of delicate visual components. Thus, my pieces reveal one set of details when viewed from a distance and another set of details that are apparent only when viewed up close.
E-mail to join the waitlist
Sept 7-10, 2024 ◆ Saturday - Tuesday ◆ 10:00AM - 5:00PM
4 days
10 students maximum
Austin Originals Catered lunches included! (Let us know about any dietary considerations when you register.)
Creating crackle textures with kilnformed glass powders was pioneered by Bob Leatherbarrow who has continued to explore and develop its design potential over the past 30 years. In this four-session masterclass, Bob will share his knowledge on crackle textures starting from the foundations and advancing to complex designs and compositions.
These foundations include learning proper techniques and problem solving so you can control subtle aspects of crackle such as the size of the “islands” in the texture. Layering and blending of powders result in unique colour palettes and Bob will explain the placement of accent colours and the importance of sequencing colour layers. You will also learn how to develop your own unique and reproducible colour palette and work with reactive colours.
With these foundations in place you will discover ways to include subtle veining and “replacement” textures, to isolate the texture in specific parts of the design, and to work with different combinations of textured powder and sheet glass. These concepts will take your crackle textures pieces to a whole new artistic level.
Each session will consist of discussions, demonstrations, and exercises in the Helios Studio that Bob will oversee and provide individual guidance from his home in Canada. Each student will have a personal device connecting Bob to their station so he can follow your work as you work.
More About Bob Leatherbarrow
(from www.https://www.leatherbarrowglass.com/)
My kiln-formed glass bowls, shields, sculptures, and roll-ups explore the subtle colours and delicate beauty of naturally occurring textures and encourage the viewer to ponder their origin.
Textures are a key part of our everyday visual landscape and through them we interpret how objects were formed, or how they evolved. Although textures may have common forms, their origin and evolution might be very different. For example, mud cracks in rocks and the wrinkled skin of the elderly look the same but are formed by entirely different processes. So by recognizing and interpreting textures we can understand and appreciate the stories of how objects and people evolve.
Stories have different interpretations depending on the timing and vantage points of our observations. I have tried to capture this sense of reference by presenting varying degrees of detail in my glass, from veining and blends of colours, to the use of delicate visual components. Thus, my pieces reveal one set of details when viewed from a distance and another set of details that are apparent only when viewed up close.
