Come help us make Stafford Art Glass sustainable into the new year! With the popularity of our BYOB event this past Christmas, it’s decided that we will continue to offer another event so those who were too busy or did not notice in time, can take part.
Join us for a weekend of hot glass at the studio in Newport. Located just ten minutes from Blacksburg on Route 460W, the studio is a gallery and hotshop all in one. It is also a place to learn how to make beautiful objects in glass. At this event you have the opportunity to sign up for thirty-minute slots to make either a suncatcher or paperweight; a suncatcher takes half an hour, a paperweight takes about an hour. Double up your thirty minute slots, back to back, so you can make a paperweight during this event!
Event runs January 11-12 10:00 a.m. – 8 p.m. each day. Sign up for blowing slots by “liking” us on Facebook and messaging us what times work for you and what you plan on making.
We are also having a sale at the gallery that is 50% off wholesale pricing as well as a second sale of selected works from the production floor. These are at unheard of prices. One example is our Andromeda Geodes, a paperweight with a galaxy inside, which normally sell for up to $120.00 in galleries are as low as $18.00 at this event only. People sometimes ask us why our seconds are priced as they are and its simple. Our seconds never have ANY structural flaws. No chips or cracks, only slight cosmetic flaws that keeps us from selling them as firsts. Most people do not even recognize these “flaws” as flaws at all! For example, pieces may be a slightly different size, or the design in the center might be slightly off-center, or the galaxy might not be perfectly symmetrical. I know it’s a small thing, but our work has to be perfect, gallery ready, and our galleries want consistency as one smaller piece in a grouping might not sell as readily. So we keep them and sell them at our studio! This is an excellent opportunity to buy great work at unbelievable prices. Perfume bottles for a song, all original made in our studio quality work! Bowls, vases, paperweights, ornaments, suncatchers, and yard ornaments, pendant jewelry; it all goes for half off!
If you want to sign up to make something during the weekend, slots are reserved on a first come first served basis. At this price, slots go very quickly and availability to limited!
Whether you plan on blowing glass or simply watching the fun ensue over the weekend and looking over our sale offerings, this is a great family friendly weekend! For those who wish to blow glass we ask that you wear all cotton shirts, preferably with long sleeves when possible (we do have arm protectors) and sunglasses (we do have safety glasses that fit over regular glasses if needed). No
open toed shoes, and jeans are best. Everyone has a different comfort and skill level and we adapt to your needs as a student. We work as a team one-on-one to realize your glassy creations! Work made must anneal in our kilns overnight for ornaments and 24 hours for paperweights. To keep things simple for us, we ask that you either respond to this post or respond on facebook and message us there so we can keep our scheduling quick and easy for all involved! Thanks for your understanding!
I teach sculpture and design at a local university in addition to my work as a glass artist in the studio. If you know me, you will know that while I work daily with design in making good functional pieces as well as more higher end artglass, I am not a snob when it comes to design. I have my opinions, yes, and they show up in the choices I make when designing new work, but I know that the day that we say there is only one way to go about design is the day I hang up my blow pipes and call it a life. You see, while I know that many people in the design arena are very opinionated about what is and is not good design, I am aware that there is no right or wrong way to go about it. The moment that someone says “You can’t do it that way” is just the same moment when someone comes along, bursts your rigid paradigmatic bubble, and shows that it can and does work “that” way. There are lots of stories about people looking on in disgust at the likes of Degas and Van Gogh and Monet. Brush strokes! How dare they! And then a hundred years later, the same thing is repeated during the Op and Pop eras on into the Post Modern age of art. And the same goes for design movements as well. If you are in the business of good design there are a lot of things to consider and nothing is absolute. I’ll use the tumbler as a case in point.
When I was coming up in the glass field I noted that there were lots and lots of wedge-shaped tumblers where the foot was narrower than the top and the walls were a perfect straight edge line from tip to bottom. Visually, this clues you in that the maker has control of his or her medium. And yes, we may be used to seeing these basic shapes AS tumblers should be. Or should they? Visually, they might have a look that up-and-coming artisans then seek to emulate or copy. And yet, the truth is, there is more than just how something looks that goes into the design equation. A tumbler can look great but be miserable to hold in your hand. I actually have some examples of these. I made them. They sold pretty well, but why is that when they feel so unnatural in the hand? I will be bold and tell you that they are that way and popular because people just don’t know any better. They are pattern recognition machines and base so much of their choices on habit and following others, just like our emulating glassblowers with their straight-lined tumblers. Truth be told, good design is a matrix or fusion of many considerations, not JUST visual. A meal dressed up to look nice to the eye is nothing if it tastes bland; that’s because it really does need to LOOK good AND taste good, too. It should delight as many of the senses as possible, and this goes for design as well. When it doesn’t, you get a poverty of SOMETHING somewhere along the line. Someone buys the tumbler and then never really realizes how nice a different shape would feel, so they just never get to experience that eventuality. They missed the boat. And yet, it is we, the designers, who are involved in that boat leaving, or better; never even arriving in the first place.
I hate straight-walled tumblers for the very reason that I know the single best feeling tumbler to my hand and to many of my guests in my home and clients that I seek to impress with this one simple truth is that a tumbler needs a shape that is in harmony with the hand that is going to hold it. As a result, this most often means that a tumbler needs to fit the hand in its girth. A smaller hand wont feel as comfortable wrapping around a tumbler made for a Viking Goddess as it does a smaller version based on the physiology of the person grasping it. The other side to this equation is that no one hand is going to be the same, so the question in design is how to find the happy medium where big and small hands will rejoice in the feel of your tumbler no matter who is grasping it that day. And then there is the overall shape of the tumbler. It is true that the top should be wider than the bottom in order for the hand to properly “catch” the vessel in a sound grip. A simple tube is simply hard to hold onto. Get a little salad dressing on your finger and sloop! There it goes sliding out of your hand and onto the floor!
What I have found is most often the single best feeling tumbler to the hand is an hour-glass shape. It allows the hand to grasp it closely whole also giving the hand a way to keep it from sliding up or down out of its grip for some-any-reason. It is a result of this realization that I most often make tumblers with some form of curve in them while taking the overall size into consideration. Overtop all of this, the surface decoration or color must play as well. So what do you get? You get a shape that you simply do not find very often in most stores. And I ask you; why? I know the reason and it has to do with a lot of old regurgitated ideas about what makes a GOOD tumbler. This is where we stagnate on many levels. We stagnate-unknowingly- as users, and we most certainly stagnate as makers or designers. And how do we change this? We are brave. We are willing to do just as I have done and sought to do what one of my last workers used to say when he saw something he thought was ridiculous. He would say “I call bullshit!” I had never heard that term before, but it really hit it on its head. We have to be willing to question the status quo and ask the obvious question about that elephant in the room. Of course there will be people who will look down their noses just as many have done in the past with anything new, but this is as it has always been with such dry and crusty pattern-recognition machines! Eventually, though, a new idea takes hold and then suddenly everyone was the big supporter of it back when it really counted (winks).
So I know this is a lot to wrap around our humble tumbler, but its also important. Its important for the chairs we must sit in, the clothes we wear, the cars we drive, the homes we live in and the ads that we have to view each day. Most often, we THINK what we are seeing is something we like until something new comes along that shatters the old thinking. But I say that all of this matters because it has to do with quality of life issues. Design should make life better, not uncomfortable. It should function well while also looking….interesting. Clothes should wrap you and caress while also making you look great. Cars should look sporty and stylish while also getting you there safely and comfortably. We don’t need to compromise; we simply need to innovate!
I tell my students that they have to be willing to stand up and question everything, even me, if it comes to it. I tell them that if they can explain why I am wrong and why another way is better or why how they did something was so great and should be considered, I am all over listening in an honest and considered way. After all, in a profession where the new ideas come from being bold and being willing to stick your neck out some, we all need to reward our new designers for being willing to try new things and to question what has come before, even if it does result in a tumbler my hand simply hates. You gotta try. You do.
Commissioned artwork. It sounds so…..serious. But in truth, commissioning is a means for people to get exactly what they want from an artist, designer, or artisan. In the case of fine art, a person may have always wanted to have a landscape of a field behind their house painted and they really like the technique of a given artist. They feel certain the artist would NEVER consider such a thing…..but they screw up their courage and send a late-night request….and bingo! The artist replies the next day and asks what they had in mind! Or a potter is seen at a craft fair and someone really likes their work but were wondering if instead of vases, could they do the same designs in platters that they could have as wedding gifts? “Well certainly” comes the reply from the artisan sitting behind his glasses reading the paper. You should never be off-put asking about the possibility of having an artist do work for you.
Imagine it. You could sit down and come up with ideas for fanciful drawer pulls for your kitchen, or a cool way to transform your chandelier in the living room into a hip piece of art with just the right adjustments made by a glassblower. Or maybe it is a rug from a weaver, or a set of rings from a local jeweler. And before you think that custom work is going to be expensive, that isn’t always the case. It really does depend on what you have in mind, however, and it has been my experience that if you can stay fluid with your inspiration and consider a range of possibilities, an artist or artisan can more easily bring you something truly one of a kind while staying within budget.
Handmade is Not Made In China
In the last few years, a flood of cheap imports have made their way into stores from China. This includes glass objects. Some of them look pretty good, right? The price on these items reflects a huge factory mentality that is unable to make things of the quality that you will get in a small studio. The difference in one glass shade made in China and one made in the U.S.A. are not truly comparable if all you look at is price. If price is the only thing that decides it for you, you are better served not making the journey down the road of custom-made because you will forever be caught in your dollar angst about how what is being offered is so much more than what is at Lowes or Target. There are a LOT of differences in glass made in my studio and in China and I will enumerate them for you. One is the quality of the base glass itself. In order to get costs down for a China export, the glass has to cost pennies per pound. The glass I use is specially made to be completely “water clear” so that when colors show through that clear base glass, you get an intensity and trueness to those colors that is a cut above other products made elsewhere. How different is it? Lets say that in many cases it is the difference between listening to an old vinyl record and a digitally mastered CD. Over good speakers. The other issue is that the options for designing the work are much broader with a small studio. You can achieve results that simply do not exist anywhere else because it is not mass-produced. You can have a lamp shade that no one will ever see another like, even remotely, even out of China (unless they copy it). Also the other difference is the quality of life that is being supported. When you pay for a ten-dollar lamp shade from China, you really aren’t paying for the toll that the factories there have on the environment nor the quality of life of the workers. All of these costs are real and in the industrial system, they very rarely get addressed. You will see, as an example, how industrial cultures wind up polluting the environment. they do this because they are not keeping their waste streams out of the local environment because it would drive the cost of their products UP. I hate to rain on the parade, but this is just what is and will happen in China except that if the wealthy industrialists have their way, it will be on a scale never before seen in the U.S.A. or Europe (even though we have had plenty of these things happen). What you are paying for is someone who loves what they do and is being paid a living wage, as opposed to someone who is being paid $15.00 a week. Americans are beginning to realize that these are real costs and are opting for things that they know were done in a more sustainable fashion. We truly share this earth not just with each other, but with our children’s children. Truth be told, the small studio is not selling work at outrageous prices, but a market-driven price that is usually very fair. If something seems high-priced to you, you can always ask why it’s priced that way. There are most often reasons for it that have to do with uniqueness of the design (it’s a hot item that no one else has) or its a method that takes a lot of time or took a lot of time to develop. Remember; a factory can produce more work in a day than an artisan may make in decades! It’s quite simply a completely different model and way of working and being. And one more thing to consider….I spoke with a weaver some years ago as China imports were gaining steam. This man-made lovely wraps and scarves out of chenille. His product was first-rate. He had to have a quality base product in order for his brand to fly. He received a quote for a finished scarf in chenille that was for less than he could buy his chenille for. So how long does his scarf last, the one he has made in China, do you think? If something is THAT cheap, there is always a hidden cost somewhere that someone will wind up paying for. It might be you who buys the scarf only to have it fall apart a year later, or it might fade, or the hem might fall out. In the end, this hurts you and it hurts the artisan.
Get Your Ideas
First you need some good ideas, or at least some inspiration. Artists deal in inspiration and over a cup of coffee and some great starting ideas, can most often read you well enough to find some solutions that will be pleasing to you. Sometimes ideas can come by looking at the work of the artist in the studio and sometimes you can look at what other things are out there in the market that come close but need something extra or a slightly different twist.
Communication, though, is key. Being able to express when you need it by is as important as some of your design ideas. Be willing to ask lots of questions in order to educate yourself about why adding color to a piece of glass one way is so much more expensive than another way (there is a reason, but you may not know that, which is why its so good to ask and learn). Also, being clear about what you want to spend is important, too. But just as important is being flexible should you discover in the course of your design consult that there is an option you LOVE but never had thought about it even though it brings your expected price up, say $0.00 or $60.00 dollars. An artist may not be able to come up with an exact amount for the job right away, but there is no harm in asking and then seeing if the proposal is something that fits your budget.
The most important thing to realize in commissioning work is to get a quote for the work before starting or deciding that it’s what you want or are willing to spend. And get it in writing. There are laws in most states that say that a quote must remain within a discreet percentage variance from the quoted amount. This is pretty reasonable because the goal is for you to get work that you like and for the artist to make a profit, not take a loss on the project.
Do You Need A Timeline or Due Date?
Then you will need to decide on a time-line for the work. Do you need work by a given date? Say so and be clear when that date needs to be. You want to make sure that the artist does not feel rushed to get the job done because a job done well is a job that has been loved and enjoyed throughout the process. Too-tight schedules can sometimes wipe away the joy and you want this to be good for all involved, right? So keep the joy. But short of that, get deadlines in writing also.
Then, from there, you can settle on whether a deposit is to be made, or not, for the job. This enables the artist to begin work quickly on your project. It also keeps the customer committed to the project and not backing out at the last minute, leaving the artist with materials they might not otherwise have bought or will use again. As a basic rule, a deposit is most often needed on jobs above a certain amount. For many small jobs I don’t ever require a deposit simply because I am not out a lot if the client backs out for some reason. However, the question becomes “what is a lot?” and that is certainly relative. It is also on a case-by-case basis because custom work is, well….custom. And special!
Let iT Be FUn!
I will say, though, that custom work is a journey to discovery. For you and also the artist. If you are asking something of the artist that they have never done before, being as flexible as possible will actually make the project go much more smoothly and will enable the artist to make adjustments and fix issues without being under the gun. The truth is, custom work can either be kept easy or it can be hard. If its hard, artists will tend to charge more for the issue of unknowns in the process. This is where being upfront in the beginning about costs will keep from problems later. If a solution winds up being too expensive, you can say so before getting underway. It is true that for some artisans, it is not always possible to know fully the complexity of a project that they have never undertaken. I know one glass artist that puts a $500.00 minimum on ALL custom work simply for this reason. He explains that it helps to weed out people who do not want to spend the money necessary to develop a whole new line of work that the artisan may never make again and it also covers the extra time he has to spend on developing entirely new work for the client that he may never use again (including tools and materials too)! The thing to appreciate is that sometimes in cases like these color tests may need to be done, and samples made in order to see how a piece of glass will respond to a given use. All of this costs time and money.
Commissioned works have usually been exciting for me to do for customers. In one case I was building a piece from scratch for a niche that was being built in a room of a house for a VIP in a commercial construction company. The niche was made to look like an old style space as if the house had been built sixty years ago. It was lit in just the way that I explained the piece needed to be in order to show off the piece and once the piece was done, the presentation was fabulous! Everyone remarked how the space seemed to be perfectly fit for the piece they were displaying! However, the designer doing the work had given me a deadline and then began contacting me two week prior to the deadline asking if the piece was ready ahead of schedule. I explained we had settled on a given date and that the work would be ready by then. By the time I delivered the work, the designer was so stressed out that I never heard from her again. You see, this is why being clear about deadlines is so important. If you choose a date that it has to be done by, calling the artist and pestering them about whether the work is read or will be ready by deadline is a sure way to make the process unenjoyable for all involved.
Commissioning need not be a huge job either. Commissioning can be as simple as having a set of drinking glasses made, a single vase, or even an ornament for your baby’s first Christmas (which a customer helped to blow this past Christmas in the studio). Commissioning can include your presence in the studio, too, during the manufacturing process. Its possible. However, you will need to see if the artist is up for that. In my practice, I welcome the customer if s/he can be present in the studio because I simply enjoy collaboration so much. For people who can “do” collaboration and not be too rigid, this process can be a LOT of fun!
This holiday season I had several people asking about custom made tumblers. I explained to one woman who asked that I could make just about anything she might want or imagine in glass. I showed her some tumblers I was working on and explained that the options were all over the place. I began pointing to vases saying “You see that effect in that piece? We could put that into a tumbler. See those perfume bottles? We could put that design into them as well!” All of a sudden the place just began to flow with creative energy and this lady suddenly had a lilt to her step. This is the stuff that is really exciting because you realize the great options possible when you consider the possibilities.
So yes, Stafford Artglass does custom work. Would you like to design a sink? “In glass? Are you kidding? Wont it be fragile??” Well, actually, not if its blown so its two inches thick! At that point, you have a superdurable and beautiful sink! Afterall, concrete, when it is just an inch thick is fragile too, and yet we build highways out of the stuff, right? Maybe create a coral reef inside the sink between the layers of glass? Or a swirl of color that sets off your bathroom beautifully! Maybe its a set of tumblers. Maybe you would like to take drawings from your children and put them into some blown bowls. Or maybe you have always wanted to have a very specific shade of aqua for a set of tumblers. Maybe you like two colors together but can never find anything that you ever really liked. In 16 years of work I have designed awards for companies, corporate gifts, work for the U.S. Government (one went to the man who gave Clinton his Daily Brief), and to numerous clients wanting something unique or different for their homes, their families, or friends.
These tumblers were part of a large order for someone who recently got married. Clear, they rely on changes in thickness from a wrap to create a visual effect.
These tumblers which recently sold were each different from each other and the people who got them liked that. A recent inquiry involved making tumblers where each one was made a little bit differently from the other. We are now talking about doing colored wraps along the body of the pieces where each piece has a different color. The shape of the pieces will be what is consistent. Since this job is pretty straight forward and easy enough to do and in volume (they are getting six of them) the customer gets a break in price that keeps it from feeling so…custom!
So if you have ever been holding back asking local artists and craftspeople about what it would cost to do that something special that you feel would make your living space more interesting, now is the time to go for it! I mean, really, what do you have to lose?
In the last year the type of custom order I have done have included making a sculpture out of glass of a tree of life, numerous yard ornaments, drinking glasses, pendants, beads with funerary ashes in them to be scattered all over the world, and suncatchers. Over the course of my career I have developed new forms in glass, created lamp shades, drinking bottles, candlestick holders for a piece of furniture, paperweights, awards, ornaments, bowls, vases, and platters. I have always found that having a sense of discovery and adventure has always made the journey worthwhile!
This year I began to use Facebook more as a way to try and use the age-old method of word of mouth to help spread the word about my business locally. In previous incarnations, my studio was a place not suitable for the public to be just because my space was so small. In my new space, a building that includes 3200 square feet of space, I have more than enough space. In truth, I could hold two different classes in my studio while having guests in the gallery buying work and people observing a demo of hot glass being made all at the same time. With such a space as this, the opportunity to include the public in the studio has opened up, literally.
So it was beginning last year that I would begin to build an audience for my facebook page. I began by posting images of work I had that day as well as including the special projects I was involved in, some which included my students. Slowly my facebook page “likes” went from 100 to double that. And then it tripled from there and continues to grow even larger as more and more people do just what I have hoped they would do; share news of what Stafford Artglass is up to. Slow but sure, interest has increased. My reach across the New River Valley and beyond has increased and very recently I began getting people in from outside the NRV. All of this is a good thing.
A few weeks ago I was approached by someone who wanted to bring her Mother in to blow glass. She was a local from the area and had always loved glass and realized she could try glass out for herself not far from her own home. It turns out that this lady is also a newscaster from our area and as she and her Mother were in the studio, I also talked about how I was trying to use the power of word of mouth to build the business profile in the area. At the time I didn’t know that this lady was with the local news. It soon came up, though, and I found myself resisting the desire to ask her if she could pull some strings. I am sure she probably gets lots of that as it is. It was time to just enjoy learning to blow glass, which was just what we did.
Once her and her Mom’s work was out of the oven, though, we were racing ever-closer to Christmas and it turned out that Kristina was having trouble being able to get out to get her work. This time of the year is when eyes wind up on the news and so newscasters wind up living in the studio with long hours. It turned out that I would be having dinner near where she worked and she found she was able to come near to where I would be for a transfer of the glass so she would not have to travel far. That same evening I received a message from a reporter from the same news station asking if they could do a story on the studio. It was a day before Christmas and I had just been through a marathon of glass blowing with people all across the region, so having these folks coming in was like icing on the cake! Kristina had taken her glass back to the studio where she showed one of the reporters and based on the excitement and beauty of the pieces she made, I was able to get this story about the studio without even asking for it. It was a marvelous blessing and it has helped me to boost word of mouth in a way that shows that sometimes you get just what you ask for (even if you don’t always ask for it directly). Below is the link to the short spot that WDBJ did on the studio:
Please contact me directly for studio hours: our work is seasonal and sometimes the studio can be down for repairs, for example. Some days we are blowing glass while other days we are running errands or away at a show. Let us know when you are free to come see us and we can work something out that works for you.