Simple hake brush math

Here’s an easy time-saver for anyone who uses shelf primer on a regular basis.

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Have you ever thought about working with rods in an elevated drop out mold? We did just that with a some extra pieces from this Stripes and Dots Quick Tip. Check it out.

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In memory of the recently deceased Australian artist, educator, and friend Klaus Moje, Bullseye Glass Co. of Portland, Oregon, has instituted two initiatives to commemorate his impact on the company. Bullseye will establish an annual scholarship to the renowned Pilchuck Glass School and rename a key department The Klaus Moje Center for Research and Education.

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Frit! Lots of frit!

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Workshops and projects are in full swing! Special thanks to visiting instructors, Morgan Van Madison, Louise Krampien & Erika Tada. These images were taken at Bullseye Resource Center Portland over the past few weeks.

Creative Concepts in Kilnforming, with Morgan Van Madison:

Thanks for an inspiring workshop, Morgan!

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We’ve decided to clean up the mezzanine area in the Research & Education studio, Resource Center Portland. It’s a long overdue project and we really should have taken a true ‘before” photo.

After removing a heap of extra boxes & regrouping like items, it looks something like this.

In case you’re wondering, this is a mixed storage space for video props, teaching samples for certain classes, a testing archive, assorted supplies & MORE.

Here are a few gems from this round of organizing:

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YES, WE’RE OPEN! Despite all the construction signs, you can still get to the Resource Center by turning west on SE Bush from SE 22nd and driving around the block. Check out the map below.

We’re looking forward to seeing you!

here's a front view of Below and Above a piece of kilnformed panel art

Below and Above, one of two pieces by Ted Sawyer featured in our new video lesson

One of the biggest challenges of being an artist is finding a process that works for you. Different people can be productive in different environments, at different times of day, completing the same steps in a different order, asking different questions of oneself. In short, the variables in creating a process that works for you are considerable.

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An example of a French cleat hanging system used in a gallery context, Jessica Loughlin's an ever changing constant (white)

French cleat hanging systems create a "floating" effect as with this 2013 Jessica Loughlin piece, an ever changing constant (white).

In our last video lesson, Attaching French Cleats, we gave you some instructions for displaying glass panel artwork with a hanging system we particularly like.  French cleats are discreet and sturdy, and give your art the appearance of floating in front of a wall.  But hanging your artwork with a French cleat is not a one-size-fits-all proposition. There are different sizes of French cleats and considerations should be made based on the surface area and weight of your artwork.

Designing a plate in a glass fusing class at Bullseye Resource Center New York

Jacquelyn Geisner is creating a design that would eventually be fused together and slumped into a plate

The following is a guest blog by painter Jacquelyn Gleisner, about her first experience in glass fusing:

Last January I participated in a glass-fusing workshop at the Bullseye Glass Resource Center New York in Mamaroneck. As an artist with a background in painting, I like to seek out new avenues for creative expression. And sometimes, I crave a break from my studio practice. Trying out a new medium can add spice. A few years ago I learned firsthand that experimenting in a new field helped light the fuse within my wavering practice as an artist.

When I visited the Bullseye Glass Resource Center about an hour outside New York City in early January, James O’Neil gave me a tour. Walking past row upon row of gleaming glass rods, powders and sheets, the glass appeared glimmering and more beautiful to me than I remembered. read more