glassman wrote:
"Michael" wrote in message
oups.com...
JK wrote:

I know this will kill your sensibilities, but in the real world not
one person will notice, when the difference between a good fit and an
OK fit is measured in 32nd's of an inch.

************
Even though a lit lamp is really going to show up fat lines, it's not
actually my sloppy cuts or even my crummy soldering that bothers me
the most. It's my choice of glass. My lamp looks like something out
of a child's coloring book, with none of the subtle mixing of many
colors and shadings that comes from a skilled choice of glass. I've
got the Neustadt book coming in the mail, and maybe watching the
Porcelli video again would help. But for a while I'm going to remain
clueless. I mean, I choose red for red flowers and green for leaves.
What do I use some blotched red and green confusion for? Both flowers
and leaves? Who can make heads or tails of a mess like that?
Conceptually, and color-wise, I've got some growing up to do.

Thanks for posting, JK. I always appreciate your comments.

Michael



Some are color challenged and never make great choices. I used to have a
woman at my side doing all the designs & picking. Then she left and I was
on my own. It made a big difference. By the way I'm color blind.


Colors are a challence.
I started my art career late, over 50's.
At that age one is well aware that life is too short to learn everything.
I decided then not to pain but do sculpting and drawing and leave the
colors to others. I'll concentrate to light and shadow.
My drawing developed to pastel painting. There I had a box of colors to
choose, and skip the mixing of hues.

The same with kilnforming glass. I need a rack of colors to choose from.
Some mixing takes place when fusing transparents, but then I have
a good guesstimate by stacking the sheets.
The real challenge is to work with multicolored glass, and cutting
the right pieces.

-lauri