2003 Magnet Exchange

How To’s from most of the participants


List of participants (and links to photos of magnets) at this page:  http://www.warmglass.org/magnet/participants.html




1 – Charlie Spitzer

Cut and grind all the individual pieces. Lay out on shelf. Add clear cap piece. 
Fuse schedule: 1000 dph to 1450 - hold 15 - off
Use stencil to paint on Hanovia Glass Gold luster using Kemper pen. 
Fire schedule: 1000 dph to 1200 - hold 15 - off
Bag and ship.

2 – Brian and Jenny Blanthorn

I must say I was not looking forward 2 making 120+ small single pebbles 
But having sorted out some technology from Mag 02 
I was keen 2 improve 
One development was 
Squash em Flat 
Where I used a kiln shelf on top 2 flatten the glass off 
We have also using diamond-grinding wheels which R better n faster 
There is a lot of other ancillary technology I have developed 
In brief I am now able 2 make unique work, but a lot faster and better 
With out the challenge of making so many I would never have done this 
In addition
In brief this is how they R made
4 mm SLS window glass cut into long wide strips + the opalescent stuff on top
No I am not going 2 tell U what it is
On top of some ceramic body stain + onglaze + flux equal mix
Printed on 
Assembled in kiln horizontal stack
Then scrap glass on top (this gives random internal movement when using squash em Flat technology)
Fired slowly over 24 hours till flattened off
Then cooled + anneal
Broken in2 smaller pieces
Chiseled roughly 2 shape
Ground on diamond wheels
Ground on flat bed
Face /s polished on rociprolap
Boiled in water few hours
Checked over slight chips removed if any


3 – Colin Lowe

The info on 'Spab-de-Verre

1   a bas-relief image in made in pottery clay. 

2   plaster master moulds are made. 

3 120 plus wax dupes are then made using the plaster moulds. 

4 batches of 12 of the wax images are set on work bats and covered with a plaster /silica mould mix.  

5 the wax is steamed out and the moulds cleaned up. 

6 as soon as the moulds are dry they were ready for use. 

7 fill with glass and fire.........




4 – Robin Ziuchkovski

BE Neo-Lavender on top with stringers.
Brass in center.
BE clear on bottom.
Full fuse.

5 – Siw Eek

The angels are made in one firing, every one assembled separately and faces painted with china paint. All heads, glories and "decoration frits" is made with a mosaic nipper pliers (as I have no cold working equipment). Their dresses are decorated with various amounts of stringers, premade small beads and frit. Some of them got thin copper wire fused into their head threaded with beads...And every one was provided with a bit of my Hope for all people....

6 – Kelly Alge

BE black blank (some spring green). Fine silver wire music symbol misc. scrap clear cap


7 – Tony Smith

My magnets were made in a large sheet on a 14-inch square base of clear System 96 glass. http://www.amsmith.com/magnets/notsodeep.jpg. Layers of broken clear glass with strips of copper screen and foil with pieces of different colors of glass, stringer, frit and powder were full fused, then cut, cold worked then fused again to round the edges.


8 – David Wingo

Since I am from South Carolina I decided to have a copper inclusion of a palmetto tree between two layers of glass. 
The Palmetto:
The palmettos were cut from sheet copper by hand. I made a pattern out of plastic and then traced the pattern onto the copper sheet. I used a pair of snips to cut about 150 palmettos by hand. Due to hand cutting each palmetto is unique.
The copper inclusion:
The original mags started with 2x2 squares of BE clear and sandwiching the copper palmetto between the layers. I fired a few samples in a small kiln and would set the kiln on high. The ramp was 1540 degrees/hr and then turn the kiln off and let it cool naturally to room temperature. Although not the recommended ramp and annealing temperatures for a two layer BE mag it worked fine. Of course, with Olympic kiln I was using I could peak since it is a front loader. Start to finish I could have a test sample done in about 1 ½ hours.
The Blue and Red ones:
After several experiments I decided to add some BE powder between the layers to give it some color. The first 40 mags I did I used a light blue BE powder. This made the mags look a little better. The blue tint to the mag depended on how much powder I added. 
The Multi-colored Ones:
My daughter suggested that I use other colors, as well, so I did a batch with BE red powder. Finally, I decided to add some more color to the last set of mags and set up a 4 stage station and had BE red, blue, green and canary yellow powder. I would take a single layer of glass with the copper palmetto on it and go from station to station and shake some powder on the palmetto and to the edges of the glass. I tired to vary the colors and overlapped colors. I would place the mags on the kiln shelves and then put the cap on when I had the shelves in the kiln. If I put the cap on prior to moving the shelf into the kiln then I would get a lot on movement since the powder frits was piled high. 
Ooops I ran out of BE:
Most of the multi colored mags were not made with BE since I ran out of the clear BE. Instead I experimented with some generic china made glue chip. I turned the chip side of the glass to the inside and used the BE powder. Although I know I broke the rules of mixing glasses with different COEs the first experiment mags came out fine so I decided to do a production run. Interestingly the chip between layers seemed to dissolve and in some cases not completely disappear which left a slight reflective appearance. For those who got the multi colored ones you might be able to see what I am referring to. I did notice that the glue chip glass had to fire at higher temperature to fuse completely.

9 – Rosana Gusler

Float glass cast in plaster/silica (50/50) molds. The molds were made from clay positives. The clay positives were made with a set of bisque clay stamps that I made.

10 – Beth Burns

Thompson's 7990 enamels sifted through db-made "ki tty" stencil on top of white or clear 2" square of Bullseye.  That square and another (clear, irid, white, others) fused together.  Then stringers partially fused on top. Stringers measured and cut by holding piece of nylon strap (marked with correct lengths) against stringers that were masking-taped together at one end so they were in a bundle but flat.  Used wheeled mosaic tile nipper.


11 - Pam Hrycyk

I did a variety of magnets and have not kept records of what I sent. So you may have gotten:
1. Irid to Irid - Bullseye glass - Black irid and clear irid sandblasted, fired together irid sides face to face, cut with tile saw and refired to round edges; or
2. High Fire - Spectrum glass - Slabs were fired at high temperature and allowed to move, then cut with tile saw and refired; or
3. Frit Wafers - Bullseye glass - Spirals were created from powder, 2 layers of glass were pre-fused and in another firing the frit wafers were added.

12 – Barbara Muth

The magnet-less magnets I made for the magnet exchange are samples of a texture I call painted pebbles.  
Why?  Because to me the glass looks like a collection of painted pebbles under water.  The technique used to create this texture is somewhat described in my "About Fusing" link on my magnet page… www.barbaramuthglass.com/magnet.htm.  Basically it involves firing powders with frit, capping it with transparent glass, and usually fusing on a base as well.
 The mags you received in the exchange were made from sheets of painted pebbles created especially for the exchange and from scrap from my work on other pieces.  That would explain the non-rectilinear shape of some of the mags.  That and the fact that it has been way too cold for me to think about tile-sawing the mags

13- Marty Kremer

No magic – just pieces left over from various projects.


14 – Nancy Underwood

I made sheet glass starting with a base color (3 mm).  In some sheets I also added a thin clear to thicken up the sheet.  Then I sifted multiple layers of opaque powders and fully fused the sheets.  The sheets were cut into magnet-sized bits and the edges were ground on a disc to expose the multiple layers of color.  Then they were taken to the sandblaster and free cut with various designs (no stencil).  Back into the kiln for fire polish.  In the process of making 120 magnets I was really able to experiment with this technique and hope to do more with it on a larger scale.

15 – Barbara Bader

I made my mags as a full sheet, then sliced them like brownies &
Fire polished.  They are made with B.E. Taken to high temperature with a long soak.

16 – Bob Leatherbarrow

Base made with glass powders on clear base. Full fuse. Design elements on top are powder wafers, beads, stringer and scraps from my workbench. Tack fused on. Sandblasted and refired to bring up sheen.

17 - Lisa Allen

"They are constructed of a 2”x2” single black blank, topped with a pattern bar square cut from a wildly mixed 12”x12”x1” slab.  They were fired to full fuse at 1500 for 20 minutes, sandblasted, then fired to 1170 for 20 minutes for their satin finish.  All Bullseye glass."


18 – Jeff Warmuth

My magnets were 1 1/2" squares.
The bottom layer was a prefired piece on white irid with green powder sifted through a grid.
I stacked two pieces of thin clear Bullseye and sifted different shades of powder through
a stencil on the top layer.  They were fired to 1500 degrees.

19 – Nancy Lappenbusch

Just a little white rectangle and a tiny yellow rectangle of BE w/ some dichroic CBS frit on top, hammered extra small to represent magnets. The black lines were Satellite Unique’s "outline black" non-toxic enamel. Fired up to 1480, holding at 10 minutes. They really needed a clear layer on top.  Not sure if they even resemble fridges, but next year's appliance is sure to make even Sears green with envy.  ;)


20 – Bert Weiss

My maglesses started out using 10mm float glass.  I cut the squares, seamed the edges, and cleaned them.  Then I applied a fluxed down azure blue enamel from the Ferro Sunshine series.  Then I painted a red blob to hide the magnet.  Finally I sprinkled cobalt blue custom made frit that was made in a glass blowing furnace by adding cobalt to quenched frit that was made with the same 10 mm glass.  The molten glass was dumped in to a bucket of water making the frit.  The glass was fired once to 1450ΊF on a bed of powder that was scratched through with a tiling toothed trowel.  The powder is a mixture of alumina, diatomaceous earth, and plaster.

21 – Lisa Rivera Skubal

Step 1 - Make "powder wafer" for design element. Instructions on how to make "powder wafers" are in the warm glass archives if not already familiar with the process.
Steps 2 - Based on the size of the piece (mine were 2” square) create a dam with kiln bricks lined with thick fiber paper of your choice (don't use thinfire) on a kiln shelf. Place powder wafer on the bottom; cover wafer with clear glass; top with clear coarse frit.
Step 3 - Sprinkle powder frit over clear coarse frit to your desired consistency then work in powder into coarse frit with paintbrush.
Step 4 - The firing schedule I used for a 2" square magnet was 300dph to 1380 hold for 20 minutes and turn off. Cold worked edges on glastar disc grinder.  http://www.riveraartglass.com/2003magnets.htm



23 – Bonnie Granek

Most magnets are not duplicated.  Standard full fuse. Base layer clear standard thickness BE. Second layer opaque standard thickness BE. Top layer thin BE decoration. Wow. I did include flame worked stringer and cut rods as decoration. More wow.  But it was fun.

24 - Carol Swann

I took this project as an opportunity to challenge myself…I rarely work in opaque glass, and yellow, red and orange are my least favourite colours so that’s what I chose (there are also a few rare zebra (black/white) mags. Seeing Jackie Beckman’s amazing people in the WG show inspired me to give these colours another look. Used Spectrum non-96 opaque base with a clear cap. Black lines were created using Spectrum 96 black powder and a stencil. Really pile on the powder to get an opaque coat. Also experimented with a light sifting of powder over everything to tone down the brightness of the colours. Would not recommend this…it comes out looking like a poor job of using the stencil, so stopped that after the first batch. Since non-96 glass was used, everything was brushed with Spray A to prevent devit. Through experimentation found that it was best to apply Spray A prior to the powder. Maglesses were fired on a bed of powdered kiln wash to give an interesting “tooth” for better glue adherence.

25 – Steve Immerman


I made my magless by placing a square of copper leaf on a square of French Vanilla. Topped with clear. Added light green, aventurine green, and black frit.



26 – Cindy Jackson

Egyptian blue with clear cap fused 1/4" dots - 3/4" fused onto above Sapphire blue paint applied and fired Gold accents painted on.


27 – Claudia Whitten

I created a pattern bar with strips of glass and cut that on a tile saw. This was reassembled on to a piece of French Vanilla, along with 2 layers of steel blue.
I had to glue the 2 layers of steel blue, because some of the strips wanted to jump when fired.

28 – Nikki O’Neill

The process for making the maple leaf tree spirit magnet is a general one for making pate de verre bas-relief sculptures.  The only difference is that in the case of the tree spirit I started with a plastic soap mold (negative) and took (with permission) a casting from the inside of the mold using a flexible, rubbery material called Gelflex (unfortunately no longer manufactured).  Plaster investment molds were made from these flexible positives.  
The general procedure: 
--Sculpt the figure in clay (or wax)  
--Use rubber, silicone, or other flexible mold material to make a negative mold
--Touch up negative
--Make several positives with flexible mold material and touch up 
--Place positives on glass base, dam, pour investment (hydrocal/silica flour)
--Remove dam and figures (for re-use)
--Trim up and dry the mold 
--Paint/fill cavities with powder and frit
--Fire and anneal
--Remove figure and grind off needles
--Polish edges with 400, 600 grit pads
--Polish edges and surface with 600 wet/dry sandpaper and mineral oil

29 – Holly Kehler

Glass:  Orange, Armstrong 14   (some had streaks of black in the mix + left unpainted)

           Purple, Pink, Yellow, Blue - regular Spectrum (rough rolled) – 
Method: Strip Cutter to cut approx. 1/2" strips, strips cut 1/2" squares 

             Grozed corners (saved for frit) before grinding to almost round

             Overlaid 5 petals, gluing with Elmer's white, Spectrum 96 yellow frit used for centers

1st firing:  approx. 1450-1550 in Evenheat Hot Box, mixed loads (slight process/result variations due to differing colors/position in kiln?) 
2nd firing:  faces painted with Reusche tracing black to 1250 in Evenheat GTS 18-9, may have been improperly mixed or over fired
Notes:  Regular Spectrum irid lost irid, rough rolled didn't devit;

            Kokomo samples devited at tack fuse temps;

            Did not use Borax or Spray A ;

           Yellow seemed to accept the paint better; 

            Black paint was lost on the darker purples



30 – Katie Wills

I used Bullseye clear and neo-lavender (thin).  
1. Cut the pieces into triangles
2. Draw on the lavender with gold pen
3. Punch out a heart from brass mesh
4. Cap with clear glass
5. Decorate with stringer
I fired to about 1375 holding for 12 minutes

31 – Cynthia Oliver

These mags came from the process of multiple layering and firings of glasses in a panel piece.   The panel originally included words, difficult words that were etched through the irid on black.  These words were then laid out in a random mosaic pattern like the refrigerator poetry magnets...grouted with powder and fired.  Then I layered over that clear glass with gold lusters (prefired) then refired.  I further layered more gold lustered glass and transparents randomly, topping that glass off with aqua and gold purple drip lines poured from a crucible.  After the final capping and firing of the panel, I cut it into various sizes and shapes for the mags.  Each chunk that became a mag was refired to soften the edges. Some mags clearly retained fragments of the words etched into the irid whereas in others they are completely obscured.  Each mag contains multiple layers of glass and subtle imagery.  Some may not be as visually dramatic as others (heck, some might be downright dogs), but all deserve a good examination in the light to see the effects of layering of glass and some of you might even catch a glimpse of words.  
The piece started as a statement that once said no longer needed to be stated.  By deconstructing the panel, I was also able to let go of the words along with the emotions they elicited, like a release.  As individual pieces they carry little impact, like hurtful words that can be broken down to something innocuous.  Sometimes the end result isn't as important as the process. 

32 – Cathy Cartwright

Place clear stringer in a grid pattern on the kiln shelf. Fire to 1425, hold 5 mins.
Put a large piece of irid upside down on the stringer. Fire to 1425, hold 10 mins.
Cut into squares, put dichro square in corner.  Tack fuse.


33 – Kathie Karancz

Copper Bear Magnet
Cut out small bears from copper sheet that I bought from Bullseye.
Used small amount of glue to paste onto glass then used Paradise Paint to draw the designs.
Sandwiched bear and glass beads in each corner between Spectrum glass and did a full fuse.


34 – Diane Caddell

The Whale Tail symbolizes who WE are

...Free Spirits   ...Majestic  ...Creative  ...Playful  ... and no two alike


There are two versions of my whale tail out there,


The first was made with a base of Spectrum white/clear Baroque. The tail was cut with a band saw from Spectrum gray and placed on the base. The water was made from some waves I had made for another project and then crushed into various sized frit. Once everything was put together, they were fired at 700ph to 1440 then kiln shut off and allowed to cool on it's own.  


The second set came about after having problems with my saw and needing to change my design. I wanted to stay with the whale tail theme so I decided to attempt to make tail wafers with semi coarse homemade frit from the left over grays used on the previous cut outs. A stencil was made, frit sifted onto the shelf and fired. Then the whole mag was put together as I had in the first set.


35 – Susan Schroeder

Bullseye glass
1 square Marine/Powder Blue Streakies
1 square Thin Iridized Clear
3 thin strips CBS Rainbow 1 Dichroic on Thin Black
Attach Streakies to Iridized, with the iridized side out. Attach dichroic to iridized side. Place iridized/dichroic side down on well kiln washed shelf and bake until slightly rounded. I did not sign these as I liked the feel as they were - the contrast of the very smooth side and the slightly rough iridized side and I couldn't really call one side or the other the back.


36 – Ed Burck

Iridescent and black glass on black base

37 – Elenor Conn

I used the opportunity to "play" with roll-ups. I wanted to see how they did with different firing schedules, how much they would flatten out. Some looked like "blobs" but others were pleasing.


38 – Elisabeth Villarreal

Gumball machine magless "how to" 

1.  Cut glass to form machine top and bottom, 2 pieces of each, then fuse together.

2.  Apply frit and stringers to replicate gum and details of base, then tack fuse.


39 – Dee Miller

I made 4 different kinds of magnets so I wouldn't get so bored with one. All were 2-3 layers at full fuse using Bullseye.

40 – Mary Suptic

1. Full fuse 2 inch square.
2. Airbrush micas on to and fire to 415 degree
3. Photo resist the little dragons that were hand drawn and scanned    into computer.
4. Pay my son to apply 120 little pieces of photo resist onto the full    fused pieces.
5. Pay him some more to sandblast the little puppies off again...
6. Wash like crazy.
7. Refire to fire polish and add decorations.  In this case the dichro was already in ball shape
8. Add gold decorations. Refire to 1150 degrees.
9. Clean some more.


41 – Peggy Stewart

A group of five professional artists, including three artists from other mediums than glass, worked side-by-side with students from three local high schools.  Some of the students are advanced placement art students.  Others are special education, handicapped or at-risk students who need encouragement, and self esteem boosts.  So to all who get our magnets, some are beautiful, and some are beautiful because of the love and communication that they represent.



43 – Zane Rozkalns

I was delighted with the possibilities of using mica (aka: Pearl Ex, It is powdered mica. One can buy it in various colors at craft stores) to make a design but had numerous problems making it behave.  On the Warm Glass Bulletin board someone suggested mixing mica and rubbing alcohol and painting the glass. (I mixed a tiny bit of powdered mica/Pearl Ex with a drop or so of rubbing alcohol to make a "paint" that constantly settled and dried amazingly fast.) (On the Warm Glass Board someone mentioned adding a drop of dishwashing soap to the mica and alcohol would help break the surface tension and would help with adherence.) It worked. I used regular Spectrum glass, painted a design using the Pearl Ex/alcohol “paint”, and covered the whole thing with System 96 clear glass. I have a very, very, ancient, tiny (shelves are 5 1/2 inches square), side firing, Paragon kiln --no working pyrometer yet. 
I chose a dragonfly as the motif because a). It reminded me of summer without mosquitoes (dragonflies prey on mosquitoes) b). Having one land on you is considered lucky. and c). Having these dragonflies on all the surfaces of the room I work made me smile.


44 – Heidi Crowley

I cut 2" squares of Bullseye deep cobalt and clear.  To each square I glued five spring green stringers.  I tack fired the five stringers to each square**. I then flipped the clear halves over, turned them 90 degrees and placed them onto the blue halves to make the "grid" pattern.  When fused it trapped the air to form the "bubble grid."  
**When I first fused the assembled mags using just glue, many of the stringers moved and ruined about 1/4 of the first batch.


45 – Jim Wolverton – the ex Hobbyist, now Glass Artist that does this as a hobby

Both of my Mags are made with regular Spectrum from the "sale" bin. This meant that I made my own frits and stringers.

The clown is a design adapted from a Fitz & Floyd figurine. The pieces are cut and fit very closely and glued in position with thinned Elmers. The orange hair is frit. The dots on the bow tie, the mouth, the eye and the signature are all penned with Ferro Sunshine paints mixed with clove oil. A regular dipping pen is used, the old fashioned kind. I made a jig/guide for the eye and the mouth in order to get them all the same and also to keep a nice smooth curve. The nose is prefired chips. The entire assembly is then fired just enough to fuse and round slightly but not flatten the nose.

The orange tree starts with a couple fitted pieces of stringers/noodles to form the trunk, glued with Elmers. When dry I used two fine green frits, only slightly different in size, to form the leaves. First the courser of the two arranged in a circle with a few drop of klyrfire. Then the finer frit sprinkled on top to get a leafier look. (I use a folded business card to make a trough and tap it to apply the frit. Then brushes and Exacto knife to manipulate it if needed.) The oranges are prefired frit and are applied one at a time with tweezers, no glue. The top layer of green frit is loose enough to nestle the oranges into it. That way they won’t roll away. If I had glued the oranges in place they will roll away when the glue burns off. Making an orange tree took about 20 - 30 minutes each after the trunk was glued in place. The signature is the same as the clown. The assembly is then fired to tack fuse


46 – Tami Coatsworth

I was one of the people, who were on the waiting list for quite a while, and finally received notice to be in the magnet exchange with only a couple weeks to do my maglesses.  Because I didn't have much time to prepare, my magnets were mostly made from other previous projects that I recycled.  I have been doing lots of lampwork (beadmaking) lately, and I tried to include a bit of lampwork twisty on most of them.  Other than that, my magnets were made from a mishmash of experiments, everything from frit painting to dicro tiles. 

47 – Diane Trepanier

Mica Powders, sprayed and spun on black Bullseye

48 – Karen Reed

Penned vitreous paint fused between two layers of Bullseye glass.

49 – Jim Simmons

The "Night glow" mags were painted on a black substrate with "glow in the dark" powder obtained at http://www.extremeglow.com/ and mixed with Klyr-fire to a consistency of pancake batter.  The moon was just painted on with a brush, and loading the brush with paint and then “flicking” it at the substrate made the stars.
The substrate was then capped with clear and fused.  Be aware that the powders do not fuse into the glass. They are a lot like mica in that respect. They have to be capped.  Also, the thicker the painted on powder, the more glow you will have.
The ghosts that the sorters received were done the same way. For a picture go to 
  http://community.webshots.com/user/jjsim and click on  "night glow". 

50 – The invisible Mag


51 – Judy Schnabel

Different colors of Spectrum glass were cut to make the base.  This was capped with Spectrum clear 96.


Murinis were made with noodles in the Uro mold to coordinate with the base color of the mag and fired to 1400.

52 – Rocky Gentry

All Bullseye.  I started with 5" square black bases upon which I stacked assorted sizes and shapes of colored opals two deep. In a Quikfire 6 I combed on 110J 5 times horizontally, 5 times vertically and once on each diagonal.  I made 9 tiles thus. Each tile was cut into 16 squares with a trim saw. I then full fused the little combed squares onto an ivory base on fiber paper in a Jen-Ken 18E.


53 – Laurie Young

My magnets are mold-cast, fused Bellentini beads with colorants, including micas, on glazes, glass paints and oxides.


54 – Marianne DeLavan Johnson

First I fused 2 glass squares of the same color to make the blank base.  The top square was 1/4" larger than the bottom.

Then I arranged and glued (using klyrfire) millefiore in the shape of a peace symbol and tack fused.

55 – Marilyn Kaminski

I made my rainbow magnets in lengths made up of Ό” strips of glass. Each length was made up of 11 strips of glass, 5 white and 1 each of the 6 rainbow colors.  The strips were laid on edge and held together with white glue.  (Since my kiln shelf is only 21” long, I made each length about 19”.)  After fusing, I cut each length on the diagonal to end up with magnets that were sized about 1 Ό” by 2 ½”.  As a last step I ground the corners and fire polished the magnets to make them smooth.
Problems:  It’s hard to make each Ό” strip perfect, which is why the lines of color are not very even.  I like them that way – if you want exact strips, fire polish upside down to use the other side as the top.   When setting up the lengths in the kiln, the glue didn’t hold all that well (Klyr Fire was even worse!), and some of the outside strips fell over and separated from the rest.  Next time I try this I’ll set up some dams on the edges to hold things together better and avoid having to cut so many extra pieces to make up for the spoiled lengths.

56 – Melodie Triche

Made patterns, cut and ground body, 2 dress pieces and sash for each mag.  Used BE glass.


Pulled eyes and lashes in torch.


1st fire – body and dress pieces – 1325F Dresses were slightly rounded over.

2nd fire – sash – 1325F Rounded edges on sash - Dresses edges almost flat.

3rd fire – eyes and lashes – 1300F Tacked eyes and lashes – sash smoothed more – dress started to make body pull up a bit (helped with appearance of bosom).


Developed resist for lettering, applied to sash, masked rest of mag.


Blasted deep, painted with airbrush before removing resist.


57 – Paul Tarlow

1) Take Bob's powder wafer class
2) do it smaller with more stencils
3) swear a lot when stencil #3 messes up the powder from stencils #1 and #2
4) repeat step #3 ad naseum
5) join a conspiracy before you have any idea what's involved
6) don't listen to Beth
7) listen to Beth
8) Make twice as many snakes as you think you're going to need 'cause half of them are going to either deform in the kiln or break or just not look that good. One or two may bite you then you have to kill them just to keep the others intimidated.

But not necessarily in that order.


58 – Pat Zmuda

Black and clear iridized BE glass was cut into squares, resist applied and design hand-cut.  Each square was then sandblasted, cleaned, matched (black square irid up, clear square irid down) for a pleasing pattern/color effect and kiln-fired.

59 – Kim Kleinschmidt

The Dichroic maglesses were done in two stages - the base of red or black glass had dichroics laid mosaicly on the base - they were fused to 1480 degrees held for 15 minutes - then annealed and cooled to room temperature - then each was clear capped again going to 1480 degrees for 
15 minutes annealed and cooled.
The Stringer maglesses all had red base glass, were clear capped, and colored noodles, stringers and frit were glued in place - they were all fused to 1480 degrees with a hold of 18 minutes - then annealed and cooled to room temperature.

60 – Sadie Cuming

I used some very simple techniques. I tack fused BE iridescent glass (I love it), and hand painted it with Hanovia gold. This was then engraved with a diamond point

61 - Sue Sevcik

I start by making a square about 6 x 6
The first layer is dicroic glass  (Or a piece of glass with dicroic glass over it)
The second layer is small pieces of transparent glass
I then accent with:
  Lattichino and Twisties made in the torch
  Murrini (made and bought)
  Confetti glass
I take it up to full fuse
I then look at it and add more accents or glass - often adding clear frit to fill in holes
Finally I cut it into the shapes and final fuse it  


62 – Jane Lindell

I had a variety of mags.
The leaves on black were brass foil from Michael's. Some were hand cut with foil scissors; some were stamped out with a maple shaped die cut stencil from Michaels that I found at the last minute.  All the leaves had veins pressed into them with a stylus.  The indentations caught the air bubbles and made the appearance of wet dewdrops sitting on the leaves.  The caps were 3mm clear.  It worked better without any "chads" on the edges, just make sure the brass foil is as flat as possible so the caps don't fall off sideways.
The dichroic stripe cushion shapes were made with double layer of black and a 1/4-inch strip of fibroid dichro.  Some had the dichroic stripe just laid on top as a third layer, some had the top black layer split and the dichroic strip inserted between.
The few pink and blue square/circle designs are with lt. cobalt blue transparent, cranberry and white streaky, and light pink striker colors.

63 – Tom White

My magnets are made from three layers of single strength window (float) glass.  The top surface of the bottom layer was painted with a mixture of ceramic frit 3110, chinapaint flux and Mason stain 6300 mixed with a gum solution to brushing consistency. The stars representing the Lone Star State of Texas were punched from 36 gage copper tooling foil with a paper craft punch, rolled flat and painted with clear Unique glass color to keep the bright copper color when fired before being glued in place on the second layer of glass with Eileen's Tacky Glue.  Dry Pearlex pigments in four colors were mixed with the same gum solution used for the base color and applied to thin, low ash paper, dried and cut into confetti.  The confetti was picked up with a barely damp fine brush and positioned on the second layer of glass which had the star already attached. The third layer of glass was applied and the edges were brushed with a saturated solution of borax dissolved in a 50/50 solution of water and Klyr fire.  After drying the stacks were placed four at a time onto the shelf of an Evenheat KwikFire tabletop kiln and the tops of the stacks brushed with the borax solution.  A triangular kiln shelf post was used lying across the front of the kiln to raise the front edge of the muffle to vent it until the attached pyrometer indicated 1000 F and there was no odor from the paint then it was removed and the muffle closed.  Firing proceeded with the stepless switch set on low until full fuse was observed, about 1600 to 1700 F on the attached pyrometer.  The kiln was shut off and allowed to cool at its own rate until the pyrometer indicated less than 500 F.  The muffle was removed and the magnets allowed to cool on the shelf for ten more minutes before removing them for labeling and packaging.

64 – Jo Holt

Base layer BE black irid gold down
Thin (as thin as you can peel it) layer raw mica from my driveway      
Clear BE cap

Progress made during several mag firings but still working on the bubble control.


65 – Bonita (Nita) Crawford 

    My magless consisted of two 2"x2" squares of float glass.  The bottom layer was sprinkled with Thompson's white enamel for float glass.  I stenciled on the peanut with a handmade stencil and a mixture of Thompson's gold and a bit of dark brown.  I used my stencil with the word peanut with Thompson's medium blue enamel.  I fired half of them at this stage to a tack fuse and the added the cap and fused again.  I could tell no difference between those made in two firings and the ones I had done completely in one firing so I went back to it. After the clear cap was added on I stenciled on my "conspiracy" letter, placing it so it would seem to be a platform for my peanut.  I used BE black enamel because I felt there would be no problem with COE since the BE was fired only on the top of the cap.  I fired all to 1500 with a 10-minute soak at 1480.  I should have fired higher or soaked longer to get a more rounded edge.


    To get the layered look of the letters in "peanut", I painted over the letters on the cooled, annealed maglesses. I used a green felt tipped pen, Vitrea 160 from Pebeo.  I baked the maglesses in my home oven at about 300 for 40 minutes.  Directions on the package are good.  After baking, the glass painting is supposed to be permanent and dishwasher safe. 


66 – Nancy Barry

 Inspiration: As this swap was originally due around Valentine's Day, I decided on a heart motif to express love and friendship. The Celtic spirals and swirls represent the trials and intricacies of glasswork, the never-ending quest for knowledge and the threads/ties that bind us together.
Materials: Spectrum 96 white opal, clear blue, gold, green. Venture gold adhesive-back mosaic

“foil”, paper punch, old ballpoint pen for embossing, assorted glue.
1 1/8" squares of white, 3/4 " square of one of the colors, small frit pcs. 5/8" pc of foil punched and embossed with Celtic spirals and swirls. Foil piece was attached to white opal base; clear color piece was "glued" on top and frit pcs arranged on the edge. (NOTE: not all pcs have frit. I had a hard time deciding if I liked the "look" of the frit. So, I made the basic design several ways.)   Single fire in Paragon 21" top element kiln 750*/hr to tack fuse temps.

Impressions on results: I am basically pleased with these. They were designed for simplicity. I had trouble with the glue and some of the cap pieces and the frit shifted. GRRR!!! . My studio averaged 48* during Jan-Feb, the glass, the glue, everything was really cold. (It has been unusually cold and snowy this winter.) Even working at the kitchen table in front of the woodstove did not seem to help with the grab ability or drying and sticking of the glue. I used several different ones, including those, which have not been a problem in more normal temps. But, I really like the look of the ones that came out as expected without the shift.

67 – Diane Anderson

My magless represent farming - farm fields, sections of land, and seasons of crops. There are several different types; some irid to irid or rows of crops or sections of fields; some are geometric in crop and land shades, again in shape of sections of land, and others are geometric of land created from cutting up larger pieces.  All are in homage to my growing up on a farm, but more as a tribute to my brother - who is dying and is the last farmer of our line. Therefore, the geometric pieces that are not perfectly squared (i.e. chipped when cut into magnet size pieces) are deliberate, not sloppy workmanship. They represent his life cut short, the farm to fragment in the future, the vagaries of fate.  If anyone who has a "fragment" farm magnet, and would like a whole one - let me know and I will send them one.

68 – Don Burt

Bullseye regular thickness (various) or Casimir antique. Thompson enamel sifted (green, white, red, black) and fired to 1385°F. Thin lines are Reusche Stencil Black in clove oil, applied with pen. Fired to 1260°F.


69 – Stuart Clayman

   The first step was making sheets of the red, black, blue, white glass etc. The sheets were made with BE glass with frit, confetti, crushed and twizzled dichro.  The made sheets were then sliced and different color strips of the made glass were laid on clear BE with frit in between to make the sheets with the strips. This glass was then cut into about 1½ to 2 inch strips that the hearts were cut from. To borrow a phrase from Life saving of “Row, Throw and Go”, I have a phrase of “Cut, Grind, and Saw”. I but the basic shape out with the pistol grip, and then used the grinder to round the edges and then used the saw to cut the “V” shape in the top of the heart. 


70 – Stacey King

Make a polymer clay square. Press leaves into it. Make a clay leaf. Attach to square. Invest in plaster/silica mix. Remove clay. Fill with glass. Cook, clean, one hundred and fifty times.



71 – Barbra Quinn and Dotti Bernsten

       We pre-fused frit balls and two-layer blanks in various colors. We also cut strips in various colors and worked them into pinwheel shapes and added "dots" using a Hot Head torch and Mapp gas. We fused the frit balls to the blanks (fun placing the frit balls!), and then tack fused the pinwheels on top at 1175 for 20 minutes. We probably should have tacked at a bit higher heat and for slightly longer to better ensure that the pinwheels stayed "tacked".


72 – Paula Dow

I am guilty of the Blob sickness this year. I didn't know what to do and decided to see what came out of just stacking and melting stacks of glass using a full fuse. I called it Chaos Theory.


73 – changed e-mail and can’t get in touch with


74 – Cindy Jones

Pre fired small pieces of scrap glass to 1700 degrees to make small dots for top of mags. 

Cut multiple layers of colored glass, white for bottom (some had irid), blue and green.  Glued all together with dot on top.  Fired 350 dph to 930 hold for 10.  Fired 400 dph to 1450 hold for 10.  AFAP to 930 hold for 30.  Natural kiln cooling to room temp.  The cutting, stacking and gluing was the hardest part!


75 – Dick Ditore

I have a 16" piece that I made and was accepted for exhibition at the Cannon Art Gallery in Carlsbad, Ca for a show in December and January. The piece is called Ordered Chaos, and represents an orderly situation gone awry. I was inspired by some Escher prints, where things are deviating from the regular. The maglesses are break offs from that piece, and the funny thing is, there are about the same number pieces of glass in each. 960 in all the magnets. The design elements were fused individually, as well as the base mag. Then everything was assembled, and brought to tack fuse. The little addition on the back shows the pedigree, and was done on the computer.

Here is a link to a photo of the inspiration for the mags





77 – Barbara Cashman

Process: 3mm GNA (German New Antique) clear with crushed clear GNA piled on with added flecks of GNA color. A thin mirror is applied to the back of the tile with a UV cured adhesive. Clean with alcohol and razor blade and we’re done.

GNA can be tricky. It is not particularly rated compatible, but I have been working with it for almost 20 years, so I know it quite well. It possesses clean colors, no divit and a crystal “clear”. http://www.pbase.com/bjcashman/inbox

78 – Renee Schilit

First, I made a fused blank with iridized glass then placed stickers on top. The stickers acted as a resist and the blank was then sandblasted. After a thorough cleaning I put the pieces back in the kiln and reheated them to produce a low gloss finish.


79 – Steve Schramek

Our mags where made by my students using pre-cut pieces of glass.  The exersise was used to demonstrate how different glasses and different colors work, or don't work, together.

80 – Pat Loboda

I full-fused together 2 layers of BE or a layer of BE & one of Uroboros.  I used some BE thin, but not on every magnet.  For the ribbon on the packages, I used 2 BE rods to make twisties.  To do this, you tape together two colors of BE rods, and hold the ends in the flame of a torch.  (Tape at the far end of the rods.)  I use MAPP gas with a hot-head torch.  When the ends of the 2 rods get melty, you pinch them together with a pair of needle nose pliers. Then you continue heating.  When the glass is very pliable, you hold onto the end you pinched together with the pliers, and you pull with the  other hand & twist (turn over & over) at the same time.  (I hold the pliers in my left hand, and I pull and twist with my right hand.) You continue this process until you have pulled a long twistie.  I found that it was better to quit after a foot (or foot and a half), and start another twistie.  It was hard to keep it straight and without curves, otherwise.
The bows were just BE stringer bent over a candle flame into the bow shape - using a pair of pliers, or two.  Even after 120 magnets, I didn't get good enough at this, to get a consistent bow every time.  I tack fused the twisties & the bow on during the second firing.  Actually I went a little hotter than a normal tack-fuse because I worried about the bows breaking during shipping.  Upon reflection (after making 120), I think it would be best to tack fuse the twisties (ribbon) in one firing, and then tack fuse the bows separately.

81 – Sandra Schwarzbeck

My process was basic.  I used only black and white glass and made all 120 1 inch squares different.  My challenge was to see if using very basic supplies I could come up with something different for each one. 

82 – Trish Vermillion

I precision cut the seahorse shape on a diamond saw, drill a divot for the eye with a diamond drill bit and my Dremel tool; then set a 2.5mm cubic zirconia in the hole with fuser’s glue.  I arrange frit on the shape for texture and color, and then fire them. I’ve decided they are nicer if not over fired.  I used a Jen Ken 9” for most but the last batch I fired in a JenKen Oval 40”.   Each horse takes about an hour of labor plus kiln time. I vary the glass I use because it is fun to experiment and each one is unique. Oh, I call them Seashore Stallions. 
500F/hr to 1000F hold 10 Minutes

500F/Hr to 1325F hold 7 Minutes

950F/hr to 950F hold 5 minutes

210F/Hr to 750F off and cool


83 – Liam Striker


I made my magless by layering several colors of BE frit between two sheets of machine rolled clear glass, all held in a vertical position.

The sheets were then laid horizontally, and then the top sheet of clear was removed, leaving layered frit on one clear blank.  This sheet was fused and then sawed into 2x2 sections.  Each section was sifted with Thompson's enamel using a stencil.  My frit pouring rig and other pictures can be seen on the following website.



84 – Deb Libby

Depending on the magless received, the techniques used are as follows:  Snowflakes were airbrushed enamels and lustres on bottom layer, plus the black "puzzle conspiracy" lettering done on top of a clear cap.   The seahorse was done with airbrushed lustres and frit for the coral/seaweed, plus the black lettering done on top of clear cap.


85 – Kevin Midgley

This glass creation has been made using glass that would have been thrown away as scrap by the local picture framer.   I do not know the exact origins of the glass.  It was cut and only the base layer was cornered on grinding equipment.   It was not tested for tin side up or down.  The glass was placed over the simple face mold and fired as one stack.  After cleaning Sharpie permanent marker pens were used to accent the face.  Every piece is different and you may or may not have received one where the top piece and only the top piece has glass which is bent upwards along the outside corners/edges while still being fused together.  Try and figure it out why some did and some didn’t!


86 – Dave Barnes

My magless piece was created with a couple 2"x2" pattern bars that was sliced to one thickness.  A top layer of clear was added and then fused. Once cooled, the pieces were squared-off with a disk grinder.  Then the black enamel was carefully sifted over the letters template.  Each piece was carefully brushed off with small paintbrush to clear any stray enamel bits caused by static electricity.  The pieces were then fire polished.  When cooled again, gold was outlined around each letter and fired again.

87 – Linda Carpenter

Dead fish are a fun thing to share and I also wanted to show off my skills with Spectrum non-System96 glass and handmade stringer.
The irid that Spectrum uses evaporates at around 1200F and if left exposed to the air during fusing, will cause it to start to disappear.  But, if the irid is placed against the kiln shelf then even though the irid wants to evaporate, it has a hard time escaping. Nifty, sorta fish-like irid results...  much nicer than the original...  I wonder if Spectrum will find out (grin)
The stringer is made using a propane torch and 1/4-inch strips of black glass.  Slowly insert the strip into the flame, turning it to distribute the heat...  too hot too fast and the strip will break, too slow and your arms will tire while waiting.  When the glass starts to glow red it will also bend and like taffy, it can be pulled apart into thin stringers.  All sorts of shapes can be made with practice...
Two differently colored strips can be twisted into twisties..  
The eyes of course are store bought and glued on.  Please try not to giggle at the wiggly eyes while doing this.
I fired the fish in my Skutt Pinto infinity switched kiln to "fuse to stick" temperature using an alarm clock to time each batch.




89 – Patty Johnson

For my magnets I was trying to achieve a look of granite.  The first step was devitrifying float glass frit by placing a layer on my kiln shelf and holding at 1100 degrees for about an hour. Then layering glass blanks, the frit, glass powders, confetti, stringers, colored frit, and copper wire.
They were fused in large pieces and then cut apart with a saw, ground smooth and fire polished. On the later batches I found that if I cut fused then ground and fire polished I got a much smoother edge.

90 – Sharon Dunham

I had just seen an MC Escher print that made me think about the simplicity of cube concept. However, one thing I realized after the fact was that it would have been easier to use the Morton System or the Bohle Angle Cutter, but noooooooooo, I had to cut everything by hand or by eyeballing the pieces. Basically, it was a full fuse using a clear base overlayed with 3 contrasting colors of thin Bullseye.


91 – Terri Johanson

I started by making frit balls (03 frit) and colored accent elements (geometric shapes of 3mm glass) by firing at full to 1500 and off...cooling naturally. The mags were constructed of clear squares 1 3/4 x 1 3/4 with geometric elements of colored thin glass, stringer and/or frit balls (a few mags had confetti or frit accents). The decorative elements were arranged and held in place with GlassTac where necessary. The magnets were then fired to a tack fuse...300 to 1385, hold 15 minutes...full to 960, hold 30 minutes...full to 80.


92 – Anne Brown

1 x 2,clear Bullseye base, sand from Monterey Bay, CA. in center, clear Bullseye on top, 1 inch length piece is Dichroic Swizzle stick...fused to 1425 degrees. Regular strength glass was used, not thin.


93 – Nadine Beth Schneider

As a learning experience my magnets were a success, but as appealing art they failed. First off, the color I picked changed in the kiln and I didn’t expect it. Then the noodles and stringers fused on top and made the problem with air bubbles a grim reality. After that I painted little portraits that came out so cute, but faded when capped with clear and I augmented the hair with sifting powders. Next time will be better. I hope.


94 – Ann Demko

Cut glass and assembled magnet. Ramped up to 1000 @ 650, full to fusing temp of 1390, then fired @ 1390 for 10 min. in a side fire kiln. Full down to 960 held temp for 15 min. Shut off kiln and let cool naturally. Probably overkill since my mags were small but it worked. Fired at 1390 because I didn't want a full fuse but more than a tack fuse. 

95 - Aimee N. Edwards-Aladonna

My technique for the maglesses was simple. I used clear or colored stringer (depending on what mag you got) and lined them up in a straight line going vertical then tack fused. Next I used stringer again and made lines going horizontally. When I flipped the pieces over so that the stringers were touching they created a crosshatch design that trapped the bubbles in the small squares made by the stringer. The top glass was always clear but the bottom glass varied. Then fired to full fuse and sliced on a tile saw.

96 – Patty Gray

My magnets were all from my big-combed pieces. All of the magnets were System 96 glass, nothing fired beyond the 1650 temperature.  I cut the pieces; fire polished and then signed each one. The combing demo is on my website http://www.pattygray.com/demo/combingdemo.



98 – Linda Hassur

My magnetless pieces were made of clear reeded glass with stringers fused in the grooves.  I then cut them apart and had the stringers on one piece going one direction and the other piece going the opposite way.  I then did a (hopefully) final fuse.

99 – Ron Coleman

My magnets are made from Bullseye glass, opaque red and backed with black or cobalt blue. The Chinese character, "friend" was silk-screened onto 10-inch square sheets of red glass and then the sheets were cut into the individual magnets.  Paradise paints were used for the black character and Thompson Enamel A-13 acrylic medium was used as a fixative.  The artwork for the silk-screen was generated on the computer and an inkjet transparency was used to expose a light sensitive screen-printing film.

The screen-printed pieces of glass were assembled in the kiln and the magnets were fired a single time to fuse and fire the paint.

100 – Deb Trochim

My process was pretty simple using spectrum glass. I made my little magnets to represent rainbows. Out of clear glass and colored strands I have to sons in the Army Reserve and hope is a big part of my thought process. If you are into yoga you could use them as meditation tools as all the chakras are represented. On the back after they were fired I acid etched a little healing hand as I am a nurse as well as glass crafter.


101 – Chris Erickson

About a third of my mags were blobs in the color of a Kailua beach sunset--amber sand, mauve sky, with dots of water and beach grass.  The others had a black base with a gold mica Chinese character for prosperity screen printed on, capped with clear and fired twice to remove bubbles.  The mica deteriorated to a spidery distortion, so I added a "blob-over" of white opaque with small pieces of transparent colors and fired again.  If you look at the sides you can see the clear layer and the gold.  All glass is Spectrum 96.


102 – Brook Alsdurf

I used thin glass for the base.  Stacked about 5 pieces of dichroic on top of each other.  Most of the time face down, but sometimes face up.  Always the top piece of dichroic was face down.  Placed a clear cap on top.  I have a kiln with elements on the sides so I fire to a higher temp than most.  Usually I fired a second time if I had to grind a few points off.  Sometimes I added an additional piece of dichroic (face down) on top of the clear cap, if I didn't like the current look of the dichroic.


103 – Vernelle Blue

I did 4 designs.   Three of them were obvious as to how they were done.  The artist palate and flowerpots were made by taking a mosaic cutter and cutting up colored rods and stringers.  The heart was just two hearts with a piece of dichroic in the middle.  The house with the lady and kitty was done using a Profusion decals.

104 – Bebe Stoddard

My magless was rather simple.  I took a 2" square background, placed two triangles from a 1" square in the corners and filled the "valley" with multicolor frit made with my trusty hammer.  With only two weeks to join in (trust me, I'm NOT complaining - I'm just glad I got in!) it was the most colorful I could come up with.

105 – Brenda Page

These offering are lost wax cast lead crystal; the crystal used is Blackwood (Australian Made). Each piece is hand modeled in wax, then invested in a plaster/refractory mould. The wax is steamed from the mould and the cavity is then filled with crystal and fired. Once cast the pieces were flat ground and acid polished.

These pieces were used in a large wall hanging I completed just over 12 months ago. The piece was titled “Heart on my sleeve”.

106 – Nan Bowring

I call my magnets "Vases of Flowers", and they were made from the rough edges from sheets of glass put in a ''v'' shape and filled with frit!

107 – Linda Reed

My magless consists of a copper heart (thin copper sheet cut with scissors) sandwiched between Bullseye red and clear.  The dancing figure was formed from stringer (three little pieces each) over a candle and was laid on top of the clear layer.  The entire magnet was fired once.  Due to a move and various delays beyond by control. The mags were assembled a fair walk down an uneven driveway from where the kiln resided, so I was rather too enthusiastic with my glue application (I rarely use glue), and some of the mags have a glue shadow on one corner.  Next time, I'd use less or different (?) glue.

108 – The one that got away…


109 – Amber Zehnder

My magnets were pretty simple. 3 to 4 layers of glass, each cut into a 
square in different sizes...stacked largest at the bottom and turning 
each layer to form diamond pattern. Most top layers were patterned 
dichroic. For more info and pics, click this link:

110 – Dianne Van de Carr

My bird magless was made of scrap Bullseye glass. The eye was fired separately. It was made from rods snipped with tile nippers and a piece of black frit glued on before firing. I sprinkled frit onto the chest and body to give a bit more interest.
The legs are made of 3 pieces of wire twisted by putting one end in a vise and the other in a drill. It works best to twist the wires together before inserting into the vise or drill. They were glued on with E6000 glue.

111 – Lynne Chappell

Bullseye Glass: French Vanilla, Black and Egyptian Blue. Stringers made by melting silver foil into French Vanilla, and some have striped and twisted stringer. The silver and the Egyptian Blue both react with the French Vanilla to create the brown shading.



113 – Dave Nutty

Nutty Dave’s Magnets

I had roughly 10 different sets of magnet themes. Each magnet is unique but grouped by the dozen (give/take 12). Some themes work best if you have several pcs (like the "Totem Faces") so I encourage some trading/swapping/collecting if possible. All glass used was BE (except anything with the millifiorni chips … that used Effetre sheets & millis).

(#/120) "Theme": Info

(1-23)…. "Center Points": These are recycled Christmas ornaments I made. They are the center points of 6-8 pointed stars.
(24-32)… "WarmGlass": Letter tiles that spell out WarmGlass. Adventurine Green with Yellow frit on top.
(33-38)… "Frit Tiles": Same as above but symbols & designs rather than letters.
(39-51,112)… "Flowers": Tiles with tack fused rods & buttons on them to create Flowers.
(52-63)… "Totem Faces": Basic idea was totem pole faces – very simplified. Stringers, rods, buttons, etc tack fused.
(64-72,74-79)… "Milli Tiles": Millifiorni pcs in various designs (Peace, Love, Happiness). Some full fused, some tack fused.
(73)… "Double Stacker": Two ‘gift’ boxes on top of each other. Wired together with red/silver twisted wire (22 ga.). Tunnels created for wires were made with fiber paper sandwiched between 2 pc black BE.
(80-86)… "Vegas Worry Beads": 2 dice that total ‘7’. One black/One clear. Used gold foil (used to be dental filling) for the dice ‘dots’ capped with clear. They can be rubbed like worry beads.
(87-111)… "Lucky 7": 2 dice that total "7" (as in Lucky 7). Milli pcs on top of black / white effetre sqr. (all different).
(113-115,119,120)… "Insects": Bug Critters made from rods & buttons – tack fused.
(116-118)… "Triptic Tiles": 3 tiles with geometric designs in green / pink transparent on solid tile. Collect all 3 for a triptic design).


114 – Kristrun Tomasdottir

Made of Waterglass. Black w/irid and clear. Between the layers are brass, copper or silver sheet, wire or net.

115 – Barb Sanderson

The magless were made with two pieces of glass fused together.  I then hand painted the paw prints with Vitrea paint and let dry for 24-48 hours.  The mags were then reheated to approx. 350-400 degrees for 40 minutes to let the Vitrea set up.

116 – Pam Damon

My magnet design was a combination of my love of dragonflies and copper inclusion.  I used Bullseye glass and thin copper sheeting.

117 – Jackie Beckman

My 2003 magless contributions were made using slabs of high-fired glass. Fiber dams were built and small pieces of glass arranged inside. The slabs were brought to 1700F and soaked there for an hour. Once annealed and cooled, I cut them into squares with the tile saw, briefly edged them on the wet belt sander, then sandblasted and sealed them.


118 – Cynthia McIntyre

I made the suns first using frit wafer technique, learned from Bob Leatherbarrow, experimenting with different color combos. Then made mags using a bottom layer, wafer, and clear top. The top layer, cap, was clear irid, irid side down. For the bottom layer I experimented with different glasses mostly rainbow irid, which was my favorite. I used rainbow irid glass with the irid side up. This created contraction of the cap because irids just don’t get along very well. It created a lot of interest and texture instead of the smoothed capped mags.


119 – Viki Keating

I used a sheet of white opal Bullseye and sifted orange and purple powder on then used a pencil to draw through it. Fired that then cut the strips and squares and put black frit and stringers on and fired a second time to lower temp.

120 – Brad Walker

1.  Cut bottom square of glass, aprox 1 1/2" square.  (For my magnets I used scrap glass from other projects for this.)
2.  Cut top square of clear glass, aprox 1 3/4" square.
3.  Cut one piece of fiber paper, aprox 1" square.  I used 1/8" thick paper and did not prefire.  I cut with a craft knife (Exacto type).
4.  Cut a second piece of fiber paper. 2" long by 1" wide.
5.  Place the first piece (the 1" square) centered on top of the second piece. 
6.  Cut a "V" through the two pieces.   This should be in the middle of the two pieces and be about 1/8" wide.  (It will become the slot for the tiny ball to fit into.)  You should cut this "V" all the way through both pieces. I found it easier to draw the "V" onto the paper to give me a guide for cutting.  Throw away the sliver of fiber paper that you cut out. 
7.  Place a small BB between the two pieces of fiber paper.  This should be in one of the corners.  Make sure you use steel BB's that are about .177 caliber.  (This is more than 1/8" inch, less than 1/4")  It's important that the BB touch only the fiber paper and not be exposed. 
8.  Set the fiber paper with BB on top of the smaller square of glass you cut in step 1.
9.  Fill the "V" slot with frit.  Medium size works best, powder is too hard to control.
10.  Set the larger square of glass you cut in step 2 on top of the fiber paper. 
11.  Fire to a full fuse (around 1490F) and soak for 10 minutes.  Items this small can be fired very quickly.  You can probably just turn the kiln off after firing and let it cool overnight. 
12.  Use an unbent paper clip or similar scrap of metal to poke out the fiber paper.  (I used Isofrax paper, but if you use regular fiber paper, it's a good idea to wear a mask when you do this.)  You can do the final cleaning by poking a scrap of damp paper towel into the hole in the center if needed.
You can use this same approach to make very elaborate games and such with steel balls, slots, etc.