The Procedure of Graal Glass | |||
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Graal comes from the Latin word "gradalis" which means bowl or cup. According to the legend, "graal" was the bowl
that was used to collect Christ’s blood when he was crucified - the holy grail. The Graal technique was developed
from overlay glass by Knut Bergqvist technically and Simon Gates artistically in 1916, both of Orrefors Glassworks.
In addition, Fritz Blomqvist and Albert Ahlin contributed to the development of graal glass. | |||
1. Here is an example of a blank. It has been taped and sand-blasted to produce the design. |
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2. The core is heated and then rolled on a flat table called a marver to get the proper shape. The shape needed varies depending on whether it is to become a bowl, vase, or plate. | ||
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3. There are a variety of tools used to form the glass. Here Wilke is shaping the blank with a wooden block that has been soaked in water while Bosse is keeping the pressure steady inside the blank. The glassblower has more control using a block than he does with the marver. |
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4. Here the blank has been heated in the oven and is being shaped with wet newspaper, a common tool for glassblowers. By using a wet newspaper, the glassblower is able to shape the object more with his hands. He can apply pressure and squeeze the object. | ||
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5. The vase begins to take form as Wilke slowly blows it into shape. The form must be kept spinning the entire time to ensure it maintains the proper shape. If not, it will sag. Too much air makes the piece too thin and not enough air makes the piece too thick. |
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6. The piece is spun in a wet wooden bucket-type form in order to cool the bottom. In doing so, it ensures that the bottom isn't as thin as the rest of the piece. | ||
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7. Another method of keeping the bottom from becoming too thin is using air on the bottom as it is spinning and being blown. |
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8. What looks like a blob is really a measured amount of molten glass added to the bottom of the vase. It will be shaped into the foot. | ||
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9. The bottom is shaped and prepared to be attached to another rod called the punty so that the top or rim can then be worked. |
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10. The bottom is now attached to the punty and the top will be removed from the first rod. The piece has been scored with tools called jacks. Jacks are tong-like tools that produce a line in the glass where it can be broken off easily and evenly. | ||
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11. The first has been removed and the top of the vase is being trimmed in order to be able to attach the colored rim. The jacks are often used in this step to widen the opening of the piece. |
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12. The rim is added and is slowly worked to achieve the right shape. | ||
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13. The piece is reheated many times during the blowing process. Here extra heat is being added to the base. The furnace used is called a glory hole. It is usually to the side of the main furnace and kept at a higher temperature for working the glass. |
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14. The rim is shaped and formed till it suits the designer. Here wet newspaper is used. | ||
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15. This tool called a puffer is used to shape and open the piece. It keeps the vase from collapsing. |
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16. The piece is inspected by the master glassblower. | ||
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17. Now the piece is ready to be placed in the annealing oven so that it won't cool down too rapidly. If the piece cools too rapidly, it will shatter. |
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