The Glass Art Society Newsletter
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GASnews provides an ongoing exchange of ideas and information, and a place for regular communication between glass artists around the world. It is published online via issuu.com four times a year and is available to all current GAS members. Archives are also available in digital and PDF formats. To send in ideas for articles—or to comment to the editor—write us at email@example.com
Current Issue: SPRING 2018-READ IT NOW!
Letter from the Editor:
Most people think of glass in an art context, their minds immediately go to the vibrancy and emotive qualities of its broad colorful palette. Indeed, glass has a unique ability to be a vehicle for color. Color is an essential consideration for all that engage the material, possibly even more so if the objective is to work in or produce clear glass. The technology that has gone into the production of our seemingly endless spectrum of color, and that of clear glasses is immense. Color is what defines many artists in our field. There is a plethora of effects that can be achieved, from the flatness and graphic, form-defining qualities of opaques to the gem-like qualities and subtle transitions of transparents. But, selecting a color palette is not what sets us apart as artists, critics, and connoisseurs. There is a strong polarity to the perception of color use as either an essential element or a trite endeavor in the glass field.
Color allows us to transform the material of glass to emulate textures and materials. One of the earliest uses of glass was as an analogue for precious stones. It can be formulated and altered in nearly endless varieties to become both deceivingly recognizable and strikingly alien. From the roots of the Studio Glass Movement, color has been a widely researched and experimented facet of art production. While some continue to carry the torch, most studios rely on color manufacturers to determine their palette.
Throughout this issue, GASnews writers explore topics of Color from a broad range of perspectives. Regan Brumagen and Lori Fuller of the Rakow Library present some of the highlights and eccentricities of the library’s collection of batch books, Jay Macdonell balances his perspective on the standard for the use of pre-manufactured color from suppliers to the formulation of custom batches, and David Schnuckel weighs in on the considerations and implications of teaching color in the arena of higher education.
Michael Hernandez, GASnews Editor
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