Pricing reproductions

[K Okahashi]

Ok, here's a new twist (for me anyway).

I am working with a new client with a multi-faceted job. One part of the job is to possibly recreate a wall sconce she bought in Murano. There of course, will be some experimentation on my end to capture the colors and the thousands of bubbles to match a second sconce (the first one was broken by her handyman). The design is pretty simple though. It is always one thing to create something from scratch with one's own materials- it's a whole other thing to try to duplicate another person's work (let alone a work from Italy).

I suggested that my client contact the business/artist where she got the sconce and she had already tried that. Unfortunately, they claimed they could not make that type of sconce anymore. While I didn't promise her anything, I told her I would try to replicate it. So given the additional time it might take to experiment, what would you suggest as a pricing formula? Would it be some of the standards- time & materials? How would you factor in re-creating charges if any?

This is a very nice commission- two large stained glass panels, fused glass cabinet doors with matching light fixtures and of course, this one sconce. Thanks for your thoughts!
keiko

[Bert Weiss]

Ok, here's a new twist (for me anyway).

I am working with a new client with a multi-faceted job. One part of the job is to possibly recreate a wall sconce she bought in Murano. There of course, will be some experimentation on my end to capture the colors and the thousands of bubbles to match a second sconce (the first one was broken by her handyman). The design is pretty simple though. It is always one thing to create something from scratch with one's own materials- it's a whole other thing to try to duplicate another person's work (let alone a work from Italy).

I suggested that my client contact the business/artist where she got the sconce and she had already tried that. Unfortunately, they claimed they could not make that type of sconce anymore. While I didn't promise her anything, I told her I would try to replicate it. So given the additional time it might take to experiment, what would you suggest as a pricing formula? Would it be some of the standards- time & materials? How would you factor in re-creating charges if any?

This is a very nice commission- two large stained glass panels, fused glass cabinet doors with matching light fixtures and of course, this one sconce. Thanks for your thoughts!
keiko

Keiko

I won't comment on pricing, but a bubbly glass sconce was probably make with freshly charged furnace glass that is full of bubbles. In order to mimic that look, I would try and cast a sheet using BE frits, probably larger sizes. The trick is to get a sheet with lots of bubbles and a smooth skin. The cost will depend on how difficult the R & D is to make that sheet. Maybe the BE factory can make you a very seedy sheet of glass so that the job would just be a cut and slump.

[K Okahashi]

Hi Bert,

Thanks for your quick response! Good suggestion about getting Bullseye to maybe create something very seedy for us. We were thinking a two pronged approached might happen here. We do have a friend who owns a hot shop and she's always bugging us to get there to do some hot glass so this might be a good reason to do it. It looks like the sconce was made with a lot of frit and the bubbles are very tiny so it makes sense it could be hand made and rolled in frit.

The other option, we were told is to mix some Tide laundry detergent with water and put it on with a hand sprayer and fuse it between two sheets of glass to create a lot of bubbles (apparently you can also control bubbles with this method). We have never tried this but look forward to experimenting to see if this really works the way we need it to. Now, if only we were already moved into our new home and studio so we can really get started! Argh....

[Paul Housberg]

There's a studio in Biot (south of France) that makes glassware characterized by lots of bubbles. It's been a long time since I visited, but, if I recall correctly, they sprayed the first or second gather with a fine mist of baking soda/powder(?), then gathered over that and blew out the form.

(http://www.verreriebiot.com)

You can get bubbles by fusing lots of frit underneath a sheet of glass, but I don't think it will give you the same effect. With blowing, the bubbles get stretched and twisted around the piece. Not so with fusing.

Which raises the question as to whether it makes sense even to attempt reproducing something that was blown with kilnforming techniques. If the sconces can't both be viewed at the same time—and depending on their complexity—you might get away with it. But, you might also waste a lot of time and materials and not be able to satisfy the client.

Another approach would be to suggest making two sconces in the spirit of the original but within the limits of kilnforming techniques, of course. Then simply price it as you would new work.

[Tess Farley]

There's a product called Bubbleation. It is very low cost. Copied below is some info I recently received in an email about the product.

"Bubbleations crystals are a color coded, stickable formula available as a dry, crystalline form, mixable with water, which creates beautiful bubbles in hot glass works. Can be sprinkled, brushed, sifted, sprayed on an inner or lower level of glass to encapsulate bubbling. Smal amounts create a fine 'wash' of interior bubbles, larger amounts create a bigger, single bubble. All dependent on how long you soak at what temperatures. It's a fun experiment. We teach classes in their use both here and at HGH in Portland. Ask Carmen when we'll be in Corning!
Also works beautifully for sculptural works done on a punty or blowpipe!"

For more info and prices, contact Kenton Anderson at kba@inebraska.com

[K Okahashi]

Wow, all of this is great information and very helpful in trying to set this up right. Thank you!

I took some time to really look at the sconce and I swear it has to be kiln formed. The bubbles aren't stretched at all; one edge is very nicely finished. The other edge- well, there is a type of lip that tends to happen if the glass is not cut to fit each other or it slides, etc. I've done a plate where we tried to control the bubbles in the past- to make it look like stars when the light hits it just right-ramped it up a bit faster then and it turned out great.

And thanks Paul, I checked out the Biot studio and from what I can see on the picture, the bubbles are too large. These are very fine- like grains of sand, even frit -tiny frit. My client knows we will do our best- I still think we can come close if not hit the target (perhaps wishful thinking here or maybe just a current delusional phase again!). Good suggestion though to make two sconces just to have them match.

Tess, I will check out the Bubbleation and see if we can get away using it in kiln formed work. I'll make sure I keep track of my experiments and let you all know how it turns out. I can't wait to get into the kiln again (I'm going through major withdrawals these days).

Have a good eve,
bubble girl

[watershed]

Just a jaded, cynical, possibly crass piece of advice. As much as it might be fun to play with the sconces, deliver them last. Why? If the customer is a pain, you could lose the whole job, because of a risky small sconce.

Things have happened. These clients are probably wonderful people and would NEVER do something like that.....


Greg

[Brian and Jenny Blanthorn]

Ok, here's a new twist (for me anyway).

I am working with a new client with a multi-faceted job. One part of the job is to possibly recreate a wall sconce she bought in Murano. There of course, will be some experimentation on my end to capture the colors and the thousands of bubbles to match a second sconce (the first one was broken by her handyman). The design is pretty simple though. It is always one thing to create something from scratch with one's own materials- it's a whole other thing to try to duplicate another person's work (let alone a work from Italy).

I suggested that my client contact the business/artist where she got the sconce and she had already tried that. Unfortunately, they claimed they could not make that type of sconce anymore. While I didn't promise her anything, I told her I would try to replicate it. So given the additional time it might take to experiment, what would you suggest as a pricing formula? Would it be some of the standards- time & materials? How would you factor in re-creating charges if any?

This is a very nice commission- two large stained glass panels, fused glass cabinet doors with matching light fixtures and of course, this one sconce. Thanks for your thoughts!
keiko

It may B cheeper 2 make new ones

Than try n mach the the old one

If U realy do opt 4 the match put in a open ended price

Ie if U get problems it costs more

In the end its ur coustomers problen not yours

U should not have 2 pay 4 it

[K Okahashi]

More good things to think about. Brian I have put it in my estimate about the cost of doing it completely new vs. reproducing it to match. So my client is fully aware.

Greg, for those clients which you speak about, I have my "secret aggravation fee." When I know the client is going to be in my studio all the time checking, or having tons of questions, then it's like a surcharge. Thankfully, I have been very lucky so far. Of course, I include any "change orders" fees into the costs. For instance if the client changes his or her mind, then I'm not out of any materials- they incur the cost of the materials spent prior to the change and part of the labor. I feel it's only fair and understand it's common practice with architects, etc.

There is always the potential client who could back out. Reasons can vary from a change of mind to some financial set backs. I try to take it in stride and keep it in perspective. Always good to remember though.