The WyzGuy Radio Show with Jason Michael -Helping Today's Glass Artist Think Like an Artistic Entrepreneur

The WyzGuy Radio Show is dedicated to Educating and Inspiring through conversations with todays top-talents in the world of glass. Along with Artists, Host Jason Michael shares conversations with experts in areas pertaining to law, health, and business in hopes to bring light to areas of concern. Whether its heavy metal toxins, paying taxes, or how to properly set up a glass studio, we have a ton of fun in store for you.
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The WyzGuy Radio Show with Jason Michael -Helping Today's Glass Artist Think Like an Artistic Entrepreneur






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Now displaying: 2016
Dec 30, 2016
Episode 142- Reflecting on 2016
Below are questions to ask yourself when it comes to reflecting on the last year. This exercise can be done and should be done frequently so you can stay on top of wins and losses.
What successes stand out most from this past year?
What was it about each event that caused them to be successful?
Are any of these successful events repeatable?
Are there any things that you could have done to make the success even greater?
What events stand out the most that you would consider your biggest failures?
What was it about these events that made them a failure?
What could you have done differently to either made it into a success ormake it so that event never happened in the first place?
What lessons learned can you carry over to similar events to make them successful?
In the event that failed do you think delegating specific task to another person or team would have made it a more of a successful event?
Dec 14, 2016

Episode 141- Jakey Marten aka Blitzkriega 


     Born in a beach town, culture has always been my primary form of expression- From surfing to music to art to celebrating life and success with my family- Ive consistently expressed my ideas thru media of culture itself- I received my Crafts degree from the Virginia Commonwealth University School of Fine Arts with a concentration in glass- There I discovered how to utilize glass as a media to further express how art and culture are one- I feel like American culture has become themed around the artistic remix; or more formally the idea of amalgamation. In my journey to discover the perfect "mix" I've searched for and attempted to create images that universally appeal to everyone.   Check him out on Instagram @blitzkriega 


as well as his page at


trivia question : In episode 140 Scoz and I talk about his dogs and one in particular who decided to take an extended vacation and was gone from home for 4-days .What type of dog is and what's his name?   

Send answers to   You must give me both answers.  1  winner will be randomly chosen from the pool of correct responses   Good kick and have fun 


winner will receive a $50.00 gift card to Mountain Glass and a sticker pack

from yours truly 



Dec 9, 2016

CORRECTION!!   The 35% off sale does not include Illuminati, Lucy or Wonderbars... I misspoke and said they were included.  Sorry for the confusion Scott Tribble was born August 10th, 1980 in Kirkland, WA.  He has had a love for sculpting as far back as he can remember.  In High School it was clay and painting, as those were the mediums available.  When he was 19 he discovered glass blowing where his passion began to consume him and he fell into his niche.  He has experimented in many styles but his heart is in sculpting.  

“Scoz” is best known for his dragons, which have won numerous awards including High Times Cannabis Cup “Best Glass” three times.  Scoz Dragons have also been featured in Dope Magazine, NW Leaf, and on Billboards in the Seattle, Washington area.

Dec 5, 2016

Episode 139- Matty Phunk: Glass Artist and Engineer #boroadvocate #innovator 

     In this episode Matty @torontoflameworking and @jmichaelglass get deep into the talking about Marty's background, glass Journey and inspriration behind #TheArrow.  A New, Soon-to-be-Released Torch from Nortel which has been In development for the last 2-yrs, Nortel is pushing the design and innovation for their newest creation.  With a New "Re-Mix" Flame Chemistry this torch is going to change the game. Not only only affordable to purchase but also energy efficiency at its finest.  Low pressures allow this torch to run Hot and use less gas then most of the hottest torches on the market. I can't wait to get my hands on one!!!!! Hope you enjoy and Please share with you friends and spread the amazing things going on in the glass community!!!!!! 

     Matty Pike (Phunk) was born Sept 5, 1989  in Toronto, Ontario and has lived there for most of his life, with a year on the east coast of Canada and a year on the West Coast. He graduated from Ryerson University for Entrepreneurship and started up the Toronto Flameworking Studio shortly after He finished their program.  
     He started out collecting glass in about 2006 on internet forums and got his first opportunity to try melting in 2009. He had a lot of off/on time between working in a few different home studios while finishing school and decided to open the TFT studio to provide an opportunity for others to learn an practice in a reliable shop.
      While operating the TFT studio He has been fortunate enough to work closely with Nortel to design and build a new style of burner as well as creating an upgrade for some of their traditional burners. The new Nortel-TFT Arrow has been in development for the better part of 2 years and with a great deal of R&D it is by far their most complex burner. By combining the use of both surface mix as well as premix the Arrow is able to create a very unique "Remix" style flame chemistry.
Dec 1, 2016
Episode 138- Talking Home Oxygen Systems with Scott Fleishman owner and creator of The Oxygen Frog Systems..Ribbit Ribbit
Here is a list of the topics we covered during this interview. You'll hear that Scott is not only a glass artists but also an engineer who has found his "Zone of Genius" when it comes to his creativity and thinking outside of the box.!!!
  • What benefits does an oxygen home system have over liquid or a high-pressure tanks besides the Convience factor?
  • What's the initial expenses and how soon can you expect an ROI?
  • What type of electricity does a system used 110 or 220?
  • Are they systems portable?
  • Would you recommend them for beginning glass artists or should one wait a while until they have a little more experience on the torch?
  • Will this system keep my neighbors up at night? 
  • Can I expect to see an increase in my power bill and with that being said of it does increase the power bill does it still cost less then what it would be to purchase oxygen?
  • Are the systems easy to install?
  • What type of warrantees do you offer?
  • Besides normal wear and tear are there specific common issues that can happen with parts and are they easy to replace and fix? 
  • When setting up the system can you fill more then one  high pressure tank at the same time?
  • How long approximately does it take to fill a tank?
  • Can you run a torch directly off of the system?
  • Do the systems need to be ventilated?
  • Would you recommend the system to be used at Disney?
  • Do you think of the possibility that the system could run from solar power in the future?
  • Whats the Max psi output ?
Torch Talk Tuesday Video  
Check them out at
                               BORO- 30% OFF OF TAG (USE CODE TAG)
                    SOFT GLASS- 30% OFF OF JEWELRY MAKING                                                                                                        
                                       ESSENTIALS (USE CODE JEWELERY)
Nov 22, 2016

J.D. Maplesden shares his journey from his humble beginnings as a glass artist to where he is now. From Vagabon to Vagabong...

Vagabong trailer






Nov 17, 2016

EPISODE 136- "best of" Dan Coyle AKA Coyle 

This is a replay from Episode 4 



Nov 11, 2016

Episode 135 -offer free shipping or no

Today's question comes from Gary Cottontail asking "When shipping an order to a new customer should you offer free shipping on the first order or in general?"
You can find Gary on Instagram @ohgeecottontail

My answer and suggestion is "No!" Instead offer a discount in first orders. Typically I'll offer 10% off first orders but with a minimum of order being $500.00. Depending on how established you are as an artist will determine on what you can legitimately ask in regards to minimum orders. When I first started any order that was an hour or mores drive or had to be shipped was a minimum of $ it's $500.00. Don't let the shops push you around with this. Give a small discount and let the shop know that basically they're getting free pipe out of it.

By offering a discount it allows you to easily manage your book keeping. Shipping is expensive and so is the handling(time). Think of what it costs just in material to ship an order safely. I get into the details of the numbers game when it comes to putting a percentage aside for shipping and office expenses.

Hope this helps give you a different perspective when it comes to luring retailers to buy your work.


In episode 134 featuring D-Rock we talked about his little traveling buddy. This weeks question is What type of dog does Derek have and what's his name?

Please send answers to

Entries must be received no later then
Friday, November 18th. The winner will be randomly chosen from the batch of correct answers. You must answer both parts correctly. Winner will receive a $50.00 gift card to Mountain Glass and a sticker pack
From me as well. Thanks for playing and good luck!!!!



Nov 5, 2016
Episode 134- Derek Ross aka D-Rock
Derek began his established glass career in 1999 under the apprenticeship with Pablo Sag in Colorado. His career spans across the changes and issues the functional glass community has perserveered through including producing glass for Tommy Chong Glass and then having the rug pulled out by "Operation Pipedreams". To his credit, Derek Ross continued to finetune his skills including a postion he took at a scientific glass blowing manufacturer.  YOu can find his work on Instagram @d.rockglassart or search online for D-Rock Glass.
Nov 5, 2016

Episode 133- "Best of" The Worst Injuries Vol.I


This episode features highlights from the "Crashing the Kiln" round where I ask." What is your worst injury in the studio?" In celebration of Halloween I thought it would be fun to share the HORROR as we listen to the tales of blood, lacerations, and burns. You may eve learn a thing or two.


featuring in order :

Rashan Jones


Boxfan Willy

Joe Skar

Lewis Wilson


Bob Harley Dog


The Answer to last weeks trivia question: How many times did I say Ect. in Episode 130.   answer is 25...


scary themed background music music created by



Aaron Jones is our winner


Oct 28, 2016

Episode 132- Taking Care of Our Hands(replay of Episode 74- Repetitive Strain Injury revisited....Carpal Tunnel Syndrome (CTS))

link to a new natural pain relief and blood stimulator..made by Enchanted Sunshine-Australian oil of eucalyptus spray ..

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Discover treatment for pain from joint & muscle

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Repetitive strain injury (RSI) and associative trauma orders are umbrella terms used to refer to several discrete conditions that can be associated with repetitive tasks, forceful exertions, vibrations, mechanical compression, or sustained/awkward positions.[1][2] Examples of conditions that may sometimes be attributed to such causes include edema,tendinosis (or less often tendinitis), carpal tunnel syndrome, cubital tunnel syndrome, De Quervain syndrome, thoracic outlet syndrome, intersection syndrome, golfer's elbow(medial epicondylitis), tennis elbow (lateral epicondylitis), trigger finger (so-called stenosing tenosynovitis), radial tunnel syndrome, and focal dystonia.[1][2][3]

Since the 1970s there has been a worldwide increase in RSIs of the arms, hands, neck, and shoulder attributed to the widespread use of typewriters/computers in the workplace that require long periods of repetitive motions in a fixed posture.[4]


Ergonomics: the science of designing the job, equipment, and workplace
The most-often prescribed treatments for early-stage RSIs include analgesics, myofeedback, biofeedback, physical therapy, relaxation, and ultrasound therapy.[3] Low-grade RSIs can sometimes resolve themselves if treatments begin shortly after the onset of symptoms. However, some RSIs may require more aggressive intervention including surgery and can persist for years.

General exercise has been shown to decrease the risk of developing RSI.[9] Doctors sometimes recommend that RSI sufferers engage in specific strengthening exercises, for example to improve sitting posture, reduce excessive kyphosis, and potentially thoracic outlet syndrome.[10] Modifications of posture and arm use (human factors and ergonomics) are often recommended.[3][11]

Finkelstein's test

From Wikipedia, the free encyclopedia

Finkelstein's test for DeQuervain's tenosynovitis

Eichhoff's test for DeQuervain's tenosynovitis
Finkelstein's test is used to diagnose De Quervain's tenosynovitis in people who have wrist pain. To perform the test, the examining physician or therapist grasps the thumb and ulnar deviates the hand sharply, as shown in the image. If sharp pain occurs along the distal radius (top of forearm, close to wrist; see image), de Quervain's tenosynovitis is likely.[1]

Other practitioners use a modified Eichhoff's test, below, and ask their patients to flex their thumb and clench their fist over the thumb before ulnar deviation, but with ulnar deviation performed by the practitioner.[2] Eichhoff's test is commonly confused with Finkelstein's test. However the Eichhoff's test may produce false positive results, while a Finkelstein's test performed by a skilled practitioner is unlikely to produce a false positive.[3]

Wikipedia info on RSI(Repetitive Strain Injury)



Links mentioned :
Ian Harvey. Massage Therapist

- Operation Pipe Dreams 2.0


Oct 26, 2016
In todays episode we will be discussing the topic of Getting etsablished in  a new territory. This topic came to my attention from an inquiry by John Gonzalez whom you can find on the social feeds @probies_treasures on instagram as well as his business page on Facebook  Have you ever moved to a new city, state or country and felt lost when it came to reestablishing yourself in the local market place?  This episode is going to cover some simple ideas to introduce yourself to your local retailers, figure out what your local market is like and create long lasting relationships that will help support your business now and in the future, even if you move again. 
As an artists we have the ability to pick up and move to almost anywhere in the world. Having a bag of tools to use when getting yourself reestablished is the key to a successful transition. Many times the idea of having to become re established can cause many to not want to move at all due to the fear of having to start all over.
Having a clear understanding of where your business is now and where you'd like it to go will make it easier to approach your new territory with your product line in a confident, proud manner. You dont want to be cocky and over confident as this can turn off a lot of shop owners. Having a humble, proud attitude will pay dividends for years to come as your line of work grows with your techniques. With todays technology its easier then ever to promote and sell your work internationally, however the relationships you develop on a personal level with your local retailers and their customers will be a more rewarding experience both spiritually and financially. These 5-steps will ease the stress that can lead to sales paralysis. These can be implemented now to begin the process of establishing and selling in new territories whether your new to glass, new to the area or just new to selling your own work.
before we begin lets remember first and foremost that you much know your local and state paraphernalia laws.  Every city and state has different laws when it come to cannabis and this is crucial to not only help you fine tune your product lines but also to keep your ass out of jail.
1- locate at least 6-smoke shops in your area..
     Try to keep these shops under an hour drive, time equals money. Not every town or city has a bundle of smoke shops so this may be a challenge  however if this means you need to travel further then an hour do it.. once you get a good relationship with a smoke shops you can always take orders over the phone or through email. this i why its important to have a consistent, well developed line of work. Once you have located your local smoke shops its time to  go on a re-con mission.
2- the re-con mission  
    Step 2 will give you the chance to visit these shops and get an idea of what type of shops they are. Not everyone is going to be high end or low end. This will help you to figure out how to fine tune the needs of each shop. Take mental notes. as well as create a note in your phone... before walking in the door you should have prepped a note for each shop you're visiting with the name and location written down.  ask to see products and take notes in your phone of pricing with being obvious about it and don't let them know you're an artist. This may seem deceptive at first but of you walk into a new smoke shop and start talking about yourself you'll more then likely  cause them employee or shop owner to put up a mental block and not be as "open" to show you prices.  BY finding out the retail of their items you can do the math and figure out the wholesale  most shops will mark up their items 2-2.5 times. some mark up 3 times but don't let this discourage you. If for instance you see a bubbler priced at $55.00 then you can assume that the wholesale was around $22-$25.00.  Really take notice of what the shop carries and if customers come in while you're there pay attention to what they are asking for and potentially purchase.Ask questions about the artists they purchase from and jot their names down. this leads us to step 3..
3- talk to other local artists.
     The local artists in your area that have been their for a while will be able to give you a heads up about sops that they've dealt with. not every artists is going to be willing to spill the beans so take their input lightly bit still pay attention. ask about what they sell and how the owner or mgr of the shop buys.. DO they haggle prices?  do they buy in bulk? discounts for bulk?  are they a higher end gallery/retail that isn't afraid to drop god money on great glass.?  if you're a newer artist ask other artists in the area if they collab   if so the artists you collab with cold sell the piece to the local smoke shop and help introduce you to the area through your work.   ask your local artists f they ever demo at the shops? etc..  Most artists in your community are willing to share info compared to 10-years ago so don't be afraid to reach out.
4-Meet the buyers
     Once you introduce yourself to your local artists and have a decent idea of what your local shops offer and what their prices are like its time to introduce yourself as an artist to the shops   This can be intimidating and keep you from even leaving your studio. The fear of rejection can be debilitating but just remember that if you make this part of the process fun, not only will you find that your fears can actually fuel your fire but also that few every"no" you get you will be one "no" closer to a bigger "yes".  Learning how to deal with rejection is going to be key to your success as a sales person but it will also create a confidence in yourself that will lead to other successes in life. heres how you can make this a ton of fun... Give Your Glass Away!!   yep   thats all you have to do....  make samples of all your work.. no mater how big or small your line of work is make up a case full of samples. Now if you've been following the podcast for sometime you'll remember that as part of figuring out your base line calculations for your lines of product one step is creating a timed sample which you should keep for a reference. These samples are ideal to carry with you when you go to shops to show them what you make. Along with the sample make sure you have a price list with a high quality colored photo of each item next its respective price. That way you can leave this with each shop so they can call you when they need to reorder of when you call they have a reference to know what you are talking about.  Now as far as the giveaways go heres what you can do.  Make Pendants and spoons.  These will be your freebies. When introducing yourself make sure you keep the names of these contacts in the note file you originally created during your re-con mission. If the shop is a franchise or is run by a manager and not the owner make sure to get their name and contact info. They may be open to give you their personal cell number which will make it easier to get in contact with them but don't abuse this. If upon your visit you only have an employee working make sure to still get the info of the buyer but also create a good repor with the employee, they can be your best advocate when it comes to getting your work in the shop. If you do just have a employee then bring them 1- pipe sample and 2- pendants. 1 for them and 1 for the mgr/owner. If you can give the shop owner or buyer one of each it will give them a physical reference and a gift to boot.  tell them the pendant is for them to have and the pipe is for them to sell and give them your MSRP for both. The MSRP is the manufactures suggested retail price which if you did your research of that shop, your pricing will fit right in with other items that are similar in style and pricing.  Try to keep your prices consistent across the board but yo will fin that some shops that r higher end and have a higher end demographic in their area will be willing to pay more for your work then say an area that isn't a financially wealthy. Along with your glass gifts and samples, its important that you also have marketing material which leads u to number 5..
5- stickers, fliers and business cards
       Along with your gifted pendant and sample hand pipe you will also need to bring along your marketing material   This is the best way to spread the word through out your community that YOU HAVE ARRIVED.  When it comes to stickers one thing I recommend you get made is a larger sticker that the shop can put on their front door or cases. Besides smaller stickers for the shops customers the larger stickers have the ability to become a semi-permanent marketing strategy giving you a longer advertising effect when it comes to branding yourself. If you don't have a logo or brand yet just a simple sticker made using a high quality photo of your glass and add your artists name will suffice.  There's many outlets for purchasing custom stickers which as aways I recommend going local but if you cant ill post links to several companies you can choose from That I recommend an use..  along with your stickers make sure you have business cards made. This is a cheap and simple way to give the shops and their customers a way to get in touch and follow you on your social platforms. its important to include your website or marketplace(if you have one)contact info including email.. if your on a social platform don't forget to include everyone of them from your titter handle to your IG acct.  this will give your followers a chance to stay up to date with you and your newer items along with a personal side to you and all your wackiness.   In a past episode I discussed why you should use your social media platforms as tool and to not rely on them to sell your work.  
If you follow these tips you will find that you'll create a strong foundation in your local community and these relationships will be ones to nurture and grow. These can lead to demonstrations at the shops and even the ability to sell work that is experimental as you learn and develop new techniques.  Make sure to stay in touch with these shops monthly If you set a call schedule to check in with these shops in a rotation you'll be able to keep consistent orders flying out of your studio and help you grow as an artists while increasing your profits!!
Oct 19, 2016


Your work during the holidays.  
This is the time to begin gearing up for the holiday rush   As we all know time disappears even faster this time of year between the studio time, holiday parties, family get togethers and trying to find sleep amongst the chaos.  Ideally if you are able to continue the momentum created throughout the year the holidays can be highly successful allowing you to add new items to an already large catalog, try new items as well as create and continue an annual limited edition series or item.  Personally I make and sell a limited edition ornament.  Platforms like Etsy are a great place to sell and promote these items. Each platform has its own algorithm helping you promote yourself as an artist.  They are flooded with a sea of others but with persistence and time dedicated to this process as well as consistancy you can find success.   Social media platforms like Pinterest and Instagram allow you to promote the items you are focused on selling during the holidays. As you drive up interest in these items it is important to think about promotional sales for Black Friday and cyber Monday.   Personally I hold a Instagram only sale for cyber Monday and use my Etsy account for Black Friday.   Even though blackfridau is generally a brick and mortar retail sale day you can still take advantage with online platforms.  It is important to remember to promote heavily for at least a month in advance driving up the interest. Each day before the Skar launches you should promote the sale and items.  If you are selling different items you can showcase them individually throughout the weeks as well as promote the sales giving your tribe an advanced notice. Another important idea is to think of supply and demand or scarcity of your item.  Let your tribe know that you are only making 20 or 50 of a specific item and that they are numbered and dated and signed.  This adds to the hype and the need for your tribe to own your limited edition items. Remember if you do go this route that you have to stay true to your word and if you say you are only
Making 20 of said item then you have to stick to that number.   The item can change and vary over the years and seasons to keep this item a consistent collectors edition item and keep the scaricity mindset associated with it which will drive your tribe to feel the need to buy it now since they'll never be able to get that item again.    This is why it is so important to stay up with your social media and stay consistent with your word and posts......
Here's a few tips when it comes to selling wholesale orders to your retailers 
Shops are busy 
Visit or call in advance to see what the shop needs. Not wants. Make an appointment and hold shop to it  
Always make a few extra items that you want to sell 
Think retail 20-50.00 stocking stuffers. 
Put together a Christmas or holiday pack.   Stockings with goodies 
Follow up before going to confirm appointment made 
Platforms to sell retail 
  • Etsy
  • Shopify
  • Bigcartel
  • Social feeds 
These are just a few of the popular platforms of selling your work in a retail level. Most of these won't allow functional art so take advantage of this and make other items that still show your work and artistsic expression as well as the ability to expose yourself to a different community that loves art and supporting the arts.
links talked about in episode:
Oct 11, 2016
High volume low end VS. Low volume High end
When it comes to manufacturing and selling production there are many variables that need to be taken into concieration before beginning.
1- do you have an outlet that can move your product lines on a consistant basis and if so is it YOU or a DISTRIBUTOR?
2- how many items and variations of these itmes do you want to create?
3-Can you keep up with the volume?
3-How diverse are you in regards to these lines and the creation of the styles?

  1. 1.
    the action of making or manufacturing from components or raw materials.
    synonyms: manufacturemakingconstructionbuildingfabricationassemblycreation

     This manufacturing  process can be a fun and challenging as consistancy is the key to any succesful production line. In past episodes I've discussed the process of finding the base line calculations for your items.(*see figure below) This is key to running a successful business as a production artist. Without a strong, calcuated foundation you'll end up chasing your tail as supplies dry up or run short while making a larger order. The worse case scenrio would be if you were half way or 3/4 of the way through the completion of an order and you suddenly realzie you don't have enough material to get the order fininshed by the deadine you set.  So make sure you break down and calculate this out before starting.  This will also give you a good idea on the estimated time of completion and I say estimated because 95% of the time something will come up that will delay your order. In this situation just make sure you leave an open line of communication with your rep or retailer so you both are on the same page.    
   As the glass industry grows so does innovation and the variety of items that can be made an sold no matter what niche' you reside in. Whether its manufacturing beads, pendants, ornaments, pipes, etc you'll need to create a line that is both diverse and unified with a theme or concept. This will help keep your brain focused on the specifics and not constantly seeking other ways of being creative throughout the manufacturing process. If you can set a schedule for yourself to where either on certain days or a certain times of the day you allow for a bit of free time to play with a new idea which will help you stay fresh with ideas while maintaining a good production schedule keeping you on track.  Before you begin puttng your line together youll need to sit down and do some serious soul searching as these decisions will determine how successful you will be in the end.
This simple exercise can be used for anything you are going to create, especially in the area of production.    download pdf
  How many different style of what ever niche your in can you make in a timely fashion?(write them down on the downloadable pdf attached)
    • for example
    • 3"spoon
    • shirlock
    • hammer bubbler
    • carb cap
    • etc
  Of items written down which ones are repeatable in a clean, consistent production line?  (note:think of yourself as a catalog. Your items need to consistently match the items in your   catalog)
  • for example
  • 3"spoon   yes
  • shirlock     yes
  • hammer bubbler yes
  • carb cap yes
  • etc

  • Of said items how many different patterns can you use to diversify the line?
  • for example
  • 3"spoon- wrap and rake, wig-wag, dots, stripes, color changer, inside-out
  • shirlock- wrap and rake, wig-wag, dots, stripes, color changer, inside-out
  • hammer bubbler- wrap and rake, wig-wag, dots, stripes, color changer, inside-out
  • carb cap-wrap and rake, wig-wag, dots, stripes, color changer, inside-out
  • etc
  • MOST IMPORTANT-  If a distributor ordered 100 of just a single item can your soul handle the monotony?(this needs to be asked for each item that you have listed)
     Once you get all these areas established then its time to fine tune your line and begin production. Befre you begin the actual production you need to produce a sample of each itme that you will be adding to your catalog and keep as a reference. Once you have your references in hand then its time for a test run. This means you'll need to create a minimum of 3-per item in a row without stopping to better gauge the estimated time of manufacturing. This will not only help keep you on task but will also make it easier to price your work based on the time and material associated with said piece. (the downloadable pdf includes a chart to input your info) for example say you want to make a simple 3" wrap and rake spoon  Refering back to your sample youll now what material is needed.  heres a breakdown of the process:
  • prep tubing(pull points or attach blowpipes) this item requires 2" extra hvy 25.4 simax, 2" color and 9" 6mm clear(this is the formula for this item. repeat for each item)
  • with points prepped its time to begin. (The prep has to be calculalted into the time of manufacturing. use a stop watch app on your phone and wrtie the times down in the pdf attached)  estimated prep time 5-minutes
  • now make the three spoons in a row without stopping. 25-min(plus 5-min for prep) 30-minutes total to make 3-3" wrap and rake spoons or 10-minutes each
      In my opinion if you want to be a  successful artist then you will need to have a few lines of mass produced items that will be your bread and butter while also maintaining a line of lesser produced higher end items giving you a diverse line for everyone to afford.  Now depending on how you sell your work will determine what you actually make in regards to the items and price points. If you sell drectly to retailers then your price point will be higher then if you sold to a distributor and this will also determine the amount of volume you will need to create. Most distributors have a large customer base that they wll need to keep fullfilled with items they are carrying including yours.This means you will need to create few models but higher volume of them.  If you sell directly to the retailers then you wont need to create a high volume of a few items.  Instead you'll need to create a diverse line of work giving the retailers a nice variety of styles and price points to choose from.  This concept in manufacturing also goes for those who attend and sell at trade shows. 
     As your own distributor you are representing yourself as an artist which means that it is crucial for you to find your voice through a diverse product line that says "This is (artist name) glass" and have it viewed as such in a good light.  Just because something is mass produced in high volume doesn't mean it needs to be lesser quality. Even low end items should still be manufactured to a high level of quality.  A 3" wrap and rake spoon should be given the same detail that a $1000.00 rig is given. The difference between the two is the lower end item is made faster and with less material where the higher end item might take 2-days to create and $150.00 worth of material. This is where the concept of low end vs high end comes in.
     Locally made glass whether low end or high end should live up to the standards that higher end glass is held to. If you are a novice or hobbyist that is trying to create higher end work while your lower end work still looks like garbage then you need to take a step back and fine tune your skills before stepping up and attempting to create something you would consider a higher end line. Having a foundation of fine tuned skills will help you move forward towards creating the higher end lines more naturally and not feel so forced. There's a ton of garbage in the glass art world that is being passed as high quality work and only puts a light on the crap instead of shining on the highly refined developed artists. So if your skills arent up to par just yet stay with in your realm of skills while still moving forward to the ultimate destination of being a well rounded, fundamentally sound glass artist.
          By starting off as a low end production artist you'll give yourself opportune time to fine tune your skills, create a diverse line of work all the while supporting yourself as you continue to grow as an artist. If you're at the point in your career where your skills are diverse then you can create an larger diverse line of work ranging in many styles and price points giving yourself a voice  through your work. I truly hope this helps you to understand and differentiate the different sides of production. This is all bare bones info as Ill be delving into the higher end lines of work in a future episode.   

*Below is a basic calculation you can use when figuring out cost of manufacturing your items.  
How to calculate cost of production   
In this example I'm using reference from internet which has material price based on length .....
 This is a generic example
example 3"-wrap and rake hand pipe 
Material breakdown
2" section of simax 25.4 hvy wall ($8.00/60"
$0.13per inch or $0.26(2"section) 
1/2" section of color cobalt firsts ($5.25/18"
9" section 4mm clear for raking ($0.52/60")
Estimated total for cost of Goods
3"wrap and take spoon ($0.26+$0.15+$0.09)=$0.50
Propane/oxygen/power is pennies on the dollar if you're able to get liquid oxygen. If you are renting space you still need to calculate your estimated per hour rate. If you pay $1500.00/mo(power,rent,gas) break it down to per day then estimate how many hours you work in a day and use that number as a base calculation.
$1500.00/month (30-day month) is approx $50.00/day (per hour in a 10-hr day
$5.00/hr (gases,power,rent)
If you can make 10-$5.00 3" wrap spoons per hour your estimated cost per hour is $10.00/hr  
(power,rent,gas) $5.00+(material x's 10-hr) $5.00= $10.00/hr. to manufacture 10-$5.00 spoons 
GROSS-$50.00(10-$5.00 3" w/r)-$10.00(cost to manufacture)=
NET- approx $40.00/hr.  
In a 8 hr day do the math 
You can see just by getting a good base line down for estimating your cost to manufacture
you have the ability to make anywhere from
$30-60.00/hr gross profit
Gross= income 
Net =income-cost to manufacture =profit
Now take 15% of your gross and put that aside for TAXES !!!!
 If anyone has questions feel free to contact me
If you pay $____A_____/mo= (RENT+POWER+GASES) break it down per day, then estimate how many hours you work in a day and use that number as a base calculation.
$_____A______ /(30-day month) is approx $___B____/day (per hour in a 10-hr day)= $____C_____/hr (RENT+POWER+GASES)
If you can make 10-$5.00 wrap spoons per hour,
your estimated cost per hour is $_______/hr  
 $____________+(material x's 10 PER hr.)= $_______/hr to manufacturer 10-$5.00 spoons  
Net-$50.00(10-$5.00 spoons manufactured)-$_______(cost to manufacture)=
gross approx $43.00/hr.  
 Gross= income 
Net =income-cost to manufacturer =profit
  by establishing this base line costs to manufacture you can then fine tune your lines, materials used as well as what sells best and if need you can always adjust rices if something is priced to high or to low....  you should be able to profit a minimum of $20.00 per hour.  

Sep 30, 2016
Episode 128- Finding Healing and Center with Glassblowing featuring Dustin Revere
Dustin is a wealth of knowledge who has soaked it up from some of the greatest flameworkers in the world. As an artists Dustin has put himself in position to build relationships and gain exposure from artists whom have hundredrs of years of lineage in their families of glass artists.  Learning techniques from artists such as Giani Toso, Cesare Toffolo,, Lucio Bubacco,  Robert Mickelsen and many more.
     Dustin has taken this knowledge and created his own version of techniques which has now captivated and taught thousands of aspiring glass artists around the world. Between his Revere school of glass, youtube videos and facebook posts, Dustin is always pushing himself to find and share tchniques with an audeince who is constantly hungry for more.
Sep 27, 2016

Episode 127- Co-Founder Nick Deviley
talking "Glassroots"

The Glassroots Education Project

The Glassroots Education Project is a unique opportunity for new and advanced lampworkers to learn from artists, tool makers, and raw material suppliers about technique, tricks, and insight into many aspects of the Functional Glass Art Industry.

Monday October 10th
Tuesday October 11th
Wednesday October 12th
10:00AM - 3:00PM

Education Project Ticket (3 Days)
$200 - Includes all 3 days of classes except Darby Holm Master Class

Darby Holm Master Class Ticket (3 Days)
$1500 - Includes All-Access to the entire show, lunch daily, and a gift bag with a Glassroots T-shirt and Grassroots hat.


10am to 12 pm :
Tito Bern - “What Happened?”

Interviews focusing on the day the pipe industry stood still. How “Operation Pipe Dreams” and Headhunter affected our lives.

BIO: Tito Bern is an American pipe-maker based in Burlington, Vermont. In 1999, Tito discovered the art of glassblowing, his new passion was born. In 2004, he co-founded The Bern Gallery with Mikeala Boman, whom he later married. In 2006 the pair launched the Pipe Classic, the world's first Pipe-Making Competition. Tito's work is often sculptural, and animal-centric. His uncanny ability to sculpt the natural form infuses his work with a vitality rarely seen in the medium. Tito lives in Bristol, Vermont, with his wife and their ever-growing menagerie of rescue animals.

12pm to 3pm :
Roger Parramore - “Understanding the Fundamentals”

No matter where you find yourself in your glass career, whether a beginner or well experienced, it is never too early or too late to take the time to familiarize yourself with the fundamentals.

Often times more experienced lampworkers will find themselves at a stand-still, and beginners will be baffled simply trying to plot a course. Glass can often seem mysterious, fickle, and downright ornery; however, with a proper understanding of the material itself and how it interacts with the heat and chemistry of the flame, the artist is freed form the mystery and variables associated with struggling and is allowed to work more closely oriented to the act of creativity. After all, the fun is in working with the material not wrestling against it. This presentation will focus in more directly on gaining an understanding of the material itself and on tightening up our approach to process.


With 40 plus years of glassblowing under his belt, Roger Parramore consistently seeks to develop his work while teaching others the passion for the medium. Robert Mickelsen writes: “Parramore is known for his decanter and goblet sets, lidded urns, and broad-lipped compotes. Extremely adept at forming relatively large blown forms, Parramore has sometimes been called the ‘human lathe.’ The bodies of some of his vessels are formed of clear borosilicate glass with color being reserved for ornamentation, stems, and handles. The clarity emphasizes the sense of fragility, while the form lends a feeling of strength. Others are built in the Italian incalmo style with heavily reduced colors giving the surface a ceramic-like appearance. Roger’s vessels are precise and impossibly thin. The perfect shapes of his paper-walled goblet bowls and bottles are a testimony to his extremely high skill level. His highly developed technical skills and uncompromising design aesthetics place Parramore squarely among the very best lampworkers in the world today.” Fellow glass artist and author Bandhu Scott Dunham writes: “Among lampworkers, some of the most sublime goblet bowls are created by Roger Parramore, who pays respect to the Venetian tradition. His scientifically-derived technique produces simple, dramatic, deliciously satisfying forms.”

12pm to 3pm:
Tracy Drier x Erich Moraine - “Scientific Glass Technique on the Lathe”

This is a hands-on lathe technique class which will also provide a mental framework for how to approach scientific glass work. Bring your notebook – there are no hand-outs.

BIO: Tracy Drier began his career as a paper engineer, but glassblowing was always his first love. When he turned 30, he decided to make the switch, and moved to South Jersey to enroll in the scientific glassblowing program at Salem Community College. For the last 20 years he has worked as a scientific glassblower in industrial production and university research environments.

Erich Moraine is owner of Wild Rose Glass where he designs/builds/repairs custom scientific glassware. He attended Salem Community College in 1977 to start learning the profession. That's where he ran into his first glass lathe. He never fully recovered from that accident.

Education Project Tickets:
$200 - Includes all 3 days of classes except Darby Holm Master Class


10am to 12pm
Germ - “A Quest for Balance”

Germ will talking about his adventures in crowd funding the 10000 Cranes project.

BIO: Germ (Jeremy Grant-Levine) is a Philadelphia based glass artist and teacher. His parents are both artists and encouraged him to experiment with all materials from a very young age. Germ has a degree in Scientific glassblowing and spent several years working in the scientific glass industry, before returning to making art full time. He has traveled extensively, collaborating and learning from some of the best glassblowers in the country. He has been teaching in studios around the US and internationally for the past few years.
Germs work is always in flux. One series of work could focus on the sea and his New England up bringing (Smoke on the Water, 2015) and the next could reference eastern spiritual practices and communal ritual (Tools for Enlightenment, 2016). For many years he experimented with traditional German glassblowing techniques and tried to give them a more contemporary feel.

12pm to 3pm - TORCH DEMO
Jason Howard - “Jedi Mind Tricks”

This class will cover topics such as optic stemware, fuming, using compressed air, and soft glass hot shop techniques to expand your fundamental understanding of glass.

BIO: Jason Howard first began working with glass in 1997 as a senior studying ceramics at Hamilton College with glass artist Robert Palusky. Seduced by its alluring qualities of light and the sheer technical challenge, Howard's glass experimentation soon turned to obsession and total immersion. After a two-year internship as Hamilton's ceramic studio technician and a scholarship to The Studio of the Corning Museum of Glass, he began studying both off-hand glassblowing and flameworking. His work has been exhibited in national galleries and is in the permanent collection of the Philadelphia Museum of Art. He won a NICHE Award in 2009.

12pm to 3pm - LATHE DEMO
John Meinke (Circle Glass / Mobius) - “Lathe Setup for Smooth Workflow”

Demonstration of how Lathe Setup affects workflow and how a well thought out setup can expand the possibilities of work. Then, a demonstration of ideal setup to make a small beaker style pipe, and a 30-45 minute Q&A.

BIO: John Meinke, also known by his torch name Circle, has been a full time glassblower since November of 1999. After becoming disillusioned with what the future might hold for him while pursuing a BA in music performance for classical trombone, he decided to drop out of college and take an apprenticeship at a small shop in the San Fernando Valley. It was there where he first began to learn about real life, the meaning of intensely hard & hot work and the magic of molten glass. Almost 16 years later he still finds great satisfaction working with his hands and moving glass into shapes that function well and are pleasing to the eye. The first 10 years of John’s glassblowing career were spent blowing glass to stock the shelves of the retail store that he and his brother owned together. He has made everything from five dollar clear dry pipes, to downstems, to bubblers, waterpipes, lighting sconces, ashtrays, cheap bowl pieces, headdies and everything inbetween. The skills that he acquired making everything that could possibly be made to put on the shelf of a smoke shop, gave John an incredibly broad skillset that he draws from on a daily basis. 5 years ago he started Mobius, a production scientific glass waterpipe company, where he is the sole owner and designer. When not working, John is an obsessed gardener and beach bum. His garden could be considered a small farm. Both gardening and surfing time are always spent with his family, his wife Rose and 2 kids. He also enjoys camping, fishing and running. Creating a life with a healthy work, family, food and exercise balance has been an ongoing challenge and one that he feels if very important to not lose sight of. John is 35 years old.


Education Project Tickets:
$200 - Includes all 3 days of classes except Darby Holm Master Class


10am to 12pm
Carmen Lozar - “Cultivating Style (Listen to yourself)”

How do you make an artwork that is unique and recognizable as your own? In this workshop we will discuss different methods that can help an artists identify and cultivate themes that they would like to realize in glass. A pipe has the potential to become a work of art when the artist chooses to incorporate political statements, personal narratives, or even pop culture into the work. Ms. Lozar will give a brief lecture on her own artistic journey and then invite workshop participants to complete a series of exercises that will help identify and develop their own unique style.

BIO: “The sculpture I create with glass is meant to inspire and provoke imagination. Telling stories has always been my primary objective. Some narratives are sad, funny, or thoughtful but my pieces are always about celebrating life.”

Born in 1975, Carmen Lozar lives in Bloomington-Normal, Illinois where she maintains a studio and is a member of the art faculty at Illinois Wesleyan University. Carmen has taught at Pilchuck Glass School, Penland School of Craft, Pittsburgh Glass School, Appalachian Center for Crafts, The Chrysler Museum, and the Glass Furnace in Istanbul, Turkey. She has had residencies at the Corning Museum of Glass and Penland School of Craft. Her work is included in many collections including the Bergstrom Mahler Museum, WI and the Museum of Art and Design, NY. Carmen Lozar was the 2008 keynote speaker and demonstrator at the International Flameworking Conference in Salem, NJ. In fall of 2016, Carmen will travel to New Zealand to present at the New Zealand Society of Artists in Glass conference.

12pm to 3pm TORCH DEMO
Robert Mickelsen - “Organic Freeform Hollow Construction”

Mr. Mickelsen will construct a life-size clear glass human hand out of borosilicate tubing. Followed by a Question and Answer session

BIO: Born in 1951 in Fort Belvoir , Virginia and raised in Honolulu, Hawaii, Robert's formal education ended after one year of college. He apprenticed with a professional lampworker for two years in the mid-seventies and then sold his own designs at outdoor craft fairs for ten years. In 1987 he took a class from Paul Stankard that opened his eyes to the possibilities of his medium. In 1989, he stopped doing craft shows and began marketing his work exclusively through galleries. Since then, his career has taken off. He shows his work in some of the finest galleries in the country and participates in prominent exhibitions each year. His work is exhibited in many prominent collections including the Renwick Gallery of American Crafts at the Smithsonian Institution, the Corning Museum of Glass,

The Toledo Museum of Art, The Museum of Arts and Design, The Carnegie Museum of Art, The Mint Museum, The Cleveland Museum of Art, and The Museum of American Glass at Wheaton Village. He has taught extensively at the major glass schools including the Pilchuck Glass School , Penland School of Crafts, The Studio at the Corning Museum of Glass, and The Pittsburgh Glass Center. He has filmed and produced two videos on his flameworking process, and he has designed and maintains an elaborate web page dedicated to his own work and the galleries that represent him ( He has published numerous technical and historical articles on flameworked glass. He served for six years on the board of directors of the Glass Art Society and was their treasurer and vice-president.

12pm to 3pm TORCH DEMO
Brian Serck aka BERZERKER - "Dichroic Extract Application"

BIO: Berzerker aka Brian Serck, born in 1972 is a Colorado native, currently living in beautiful Gunnison Co. where he attended Western State University, and received a bachelor's degree in Fine Arts. After graduation in 1996 he began his career as a glassblower, and works out of his home studio nicknamed "The Bubble".

In 2008 Berzerker invented a technique he calls "Dichroic Extract”, which involves painting the dichroic directly on the glass in sandblasted areas and encasing. Not only did he coin the phrase, but he also created the product with the cooperation of Coatings by Sandberg. Now, Dichroic Extract is used all over the world, in all types of glass. Consistently pushing the boundaries of glassblowing techniques, some of the other discoveries to Berzerker's credit are "Multiple Layered Graal with Watercolor Frit", and "Glow Powder Back Fill", and "Berzerker's Dark Matter", a mold making clay for glassblowing.

Berzerker’s favorite thing about glass as a medium is, “the magical quality…the misunderstood nature that has been kept {a secret}. Once you understand the basics, you will find that isn’t even the beginning of knowing.” He claims to obsess over breaking down other people’s techniques to understand them and recreate them as his own.


Education Project Tickets:
$200 - Includes all 3 days of classes except Darby Holm Master Class



10am - 3pm
Darby Holm - "Building a better bong"

The master class will cover building and dressing up a mini bong. Stacking sections, shaping, how to make a female fitting by hand. What go's into the function, and how to adjust it to your preference.

BIO: Forged from the heart of an oak tree and born deep in Bigfoot country southern Oregon, my journey in life began. Destined to be a self sustained artist I quickly dove into the stereotypical life of a “starving artist” with little to no income. I learned fast and found my way doing odd jobs to support my habit of painting on windows or detail accents on cars, some T-shirt designs and lots of drawings on whatever I found cool at the time. Glass found me in the mid 90’s like a moth to a light I could not look away. April 5th 1996 I lit my own torch for the first time under the guidance of my younger brother Carsten Carlile. From that point on I realized the glass world was wide open and all mine to play with and explore as I pleased. Thanks to an incredible community of like minded and equally talented family and friends I have watched this industry grow into something I am very proud to be a part of today.

Darby Holm Master Class Tickets:
$1500 - Includes All-Access to the entire show, lunch daily, and a gift bag with a Glassroots T-shirt and Grassroots hat.

Sep 23, 2016

Episode 126 "Best of featuring Bob Harley Dawg...Yes ..thats his real name..


hiw is the heck are you?   Hope you enjoy this best of.. Bob is a wealth of knowledge and shares why integrity and leading by example are imperative in today's world of business .  Here's the link to The Arribas Borthers where I am employed at Walt Disney World in Orlando, Florida. 


This is a killer show where Bob and I dive in deep talking business, glass, and passion. If you are not able to handle rejection, criticism, and temporary defeat then you should go find a job instead of pursuing the life of a glass artist.


Bob helps moderate the Torch Talk group on Facebook as well as helps coordinate live glassblowing in a virtual studio call The Living Tree. If you've never seen flame work or lampwork its also known as, check this link as watch artists from all over the world creating work in their studios.

Google hangouts


find Bob on instagram at Dawghouseglass or his youtube channel

Dawg House Glass video techs

any questions or comments or just want to reach out hit me up in email 





Sep 2, 2016

Four Phases of Artistic Creation for the Glass Artist

     Here is a simple question I have for you. Are you able to draw a sketch or thumbnail to help get the thoughts out of your head and onto paper?   The idea is to have the ability to engineer your art on paper first to work out the details and to think about the moves you will make to successfully get from point A-point Z. This will be the starting point in the creative process as you begin this journey of manifesting thoughts into reality. 
Phase 1-The Thumbnail Sketch
    This is the first phase of 5-phases that I feel will help simplify and guide you through the creative process. Now this isn't for everyone but In my opinion, if one is having difficulty coming up with ideas or simply feeling a mental block, this path will help alleviate some of the aggravation and heartbreak that can come with artistic discovery. Some may argue that to become a better artist, as well as finding your voice through your work, it is necessary to experience the heartbreak. However a favorite quote of mine, to paraphrase is "....The wise man learns from the mistakes of others...."   Throughout my art journey I have learned from trial and error as well as from the mistakes of others. In college I received formal 2-D art training but regarding glass, its been about 85% trial and error.  This is why this episode in my opinion is so important to take to heart with the hope to save you from years of frustration and anguish from the mistakes I've made and discoveries learned from along the way.
Phase 2-The Glass Sketch
      When trying to figure out a direction to go this tends to be the most affordable  way to experiment with your thumbnail sketches you've created. With any new item, creating something in clear will shed some light on the right direction that you want to go. One of the benefits of creating your "glass sketches" in clear is you can rapidly cool these items, giving you a chance to hold them and study the piece  from all directions. This will allow you to get a handle on the areas that you may need to adjust and change for better comfort and function. As the whole cliché goes.. "sometimes it Looks better on paper" can hold true for an idea that might be just out of your range of experience and technique. This doesn't mean give up, it just means that you will have to make adjustments, finding a way to make it function within your means.  Once you have fine-tuned your new item through adjustments and trial and error you now have a 3-D reference to study. If needed you can go back to your drawing board per se and fine-tune the work on paper again before getting Phase three, the dress rehearsal. 
Phase 3- The Dress Rehearsal
      This is the beginning of the experimentation phase while heading down the path towards the "final design. This is a mock-up of the final product and at this point you will be adding color or use whatever products you have in mind to see how they work together.  If this is a never before used material like crushed opals,  then this phase will be your test run, allowing you to see how the material works and whether or not it should even be used in the first place.  Because of the influx of new materials it is important to learn how specific material work. Glass color comes in different viscocities, which means the consistency of the material works and feels different from one color to the next. Some colors need specific flame settings and work better with similar colors. If you are using a color that reduces next to a color that doesn't the two colors will work and feel differently. Especially if you are trying to avoid the reduction of the color its self.  Especially when it comes to using it for different and new project. For example a cobalt blue is going to move easier than a lemon drop or any cadmium color.   When referring back to your thumbnail sketches think about the colors you're going to want to use a write them down on your drawing using little lines of reference to point to the area that you think the color would be applied.  Once you get though a successful "dress rehearsal"  it will be time to begin Phase four......Opening Night. 
Phase 4- Opening Night
      As any opening night of a performance,  there will be bugs that need to get worked out that may not have come up during the dress rehearsal and rear their ugly heads during opening night.  Typically Phases 1,2, and 3 can be done on one day, Phase 4 should be done during its own session. It will give you a true gauge on the particulars of the piece being made. This way if there are any issues like color checking, you will be able to narrow down the specific issues and solve them as they occur.  
      At this point you will have your thumbnail sketches, clear sketch, and dress rehearsal piece that you will use for reference while finalizing phase 4. By having your phase 3 piece available to hold and study, this physical reference will help you down the path towards the end of your final masterpiece.  
Now that you have successfully moved through the 4 phases of creation, worked out the bugs and fine tuned the path you can now begin the final stage if you want,
Phase 5...... Production. 
In a future Episode, I will be diving deep into the concept of Low-End High-Volume production VS. High-End Low-Volume production as part of the
pricing and selling your work series..
Aug 26, 2016

Episode 123- Jeremy Grant-Levine AKA Germ and 1000 glass cranes

Germ (Jeremy Grant-Levine) is a Philadelphia based glass artist and teacher.  His parents are both artists and encouraged him to experiment with all materials from a very young age. Germ has a degree in Scientific glassblowing and spent several years working in the scientific glass industry, before returning to making art full time.  He has traveled extensively, collaborating and learning from some of the best glassblowers in the country.  He has been teaching in studios around the US and internationally for the past few years.  

Germs work is always in flux.  One series of work could focus on the sea and his New England up bringing (Smoke on the Water, 2015) and the next could reference eastern spiritual practices and communal ritual (Tools for Enlightenment, 2016).  For many years he experimented with traditional German glassblowing techniques and tried to give them a more contemporary feel.
Currently he is starting a project called 1000 glass cranes.  He seeks to follow the ancient Japanese tradition of Senbazuru, folding 1000 origami cranes.  The legend is that if you fold 1000 cranes in a year, you are granted good fortune, health, luck, or a wish.  His vision is to do this but with glass
1000 Glass Cranes
The modern world is moving too fast and we are always onto the next task before we can even finish or evaluate the last. 1000 Glass Cranes is a project focused on spending a full year on one large idea. One artist, without assistance, on a quest for balance. This project is about creating an immersive experience for the artist throughout the year and also the audience as participants during the final exhibit. Once the year and thousand cranes are complete, they will all be displayed at Ruckus Gallery in Philadelphia, Pennsylvania in a massive installation.
Jeremy Grant-Levine AKA Germ has been blowing glass for 13 years. As a working artist, he has made a name for himself in the glass pipe sub-culture, as one of the most technical and innovative makers in the industry. Mixing classical shapes and modern silhouettes, he is able to transform his pieces from merely function into sculptural showpieces. ​His work has been displayed in galleries in Seattle, Philadelphia, New York, Miami, and Tel Aviv. He has taught workshops and collaborated with other artists all over the world. 
Kickstarter campaign is live through September 27, 2016 to raise funds and support to get this project started. Updates and insights into the many layers of this expansive project can be found at

Aug 22, 2016
meyers briggs  test
Crashing the Kiln Round
- if you could work with any living glass artist that you haven't worked with before who is it and why? jolex- joel meyers
-if could describe the sound of glass cracking in one word what is it?-Fuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuk??!!??
-top 5 favorite colors?- 
  1. brilliant blue
  2. aqua mist
  3. purple lilac
  4. half blood
  5. serum
-worse injury In the studio -burn from flame on tt
-do you have any glass blowing themed tattoos. - no
- if you were stranded an island (Fantasy island) that had a glass studio on it and only supplied  your gases and kiln and your torch and you had to make something In order to survive
 what 5-items would you bring? 
  1. jacks
  2. steel head claw grabber
  3. jaws tool
  4. glasses
  5. tooling rollers


Mountain Glass Arts The premier distributor of glassblowing and lampwork supplies
The Flow Magazine A glass journal for the flame working community
American Helix The original Helix Pipe from American Helix glass is the perfect glass pipe for the smoker who prefers their science mixed with art. Made in the USA, Helix pipes feature a traditional spoon pipe bowl and neck design with a Venturi funnel body. The trinity Venturi inlets cool the smoke providing smooth hits without water diffusion while creating a swirling smoke show.
Aug 18, 2016


Episode 121- Best of featuring MIke Souza: Princeton University's Glass Man

Send me an email

Michael J Souza Princeton University Dept. of Chemistry Frick Lab /Glass Shop 
Job Title: Professional Specialist / Scientific Glassblower

Employment History:
Princeton University Princeton NJ 1992 - present -Hired as an hourly employee - Promoted in 1994 to Tech Staff III

W. A. Sales LTD., Wheeling, IL 1986- 92

- Master Glassblower and Shop Foreman

- Oversaw operations at Northwestern University & The University of Chicago

Wyse Glass, Midland, MI 1986-88

-Master Glassblower

- Became business partner for small custom shop that serviced Dow Corning

-Dissolved partnership as Dow/Corning faced Chapter 11 from lawsuits involving breast implants

W. A. Sales LTD., Wheeling, IL 1980-86

-Master Glassblower

-Shift Foreman

-In 1981 the company established a contract shop at Northwestern University and I ran the shop full time at the university

Valley Design Corp. Littleton, MA 1978-80

-Master Glassblower

-Head of Glassblowing Dept.

Aldrich Chemical, Milwaukee WI 1977-78

-Completed my Journeyman program under Dieter Dammrow

W. A. Sales Ltd., Wheeling IL 1975 -77

-Journeyman at a custom shop to work more independently

Kontes / Martin, Evanston, IL 1973-75

-Apprentice at the shop where my father was Production Manager Education

-Graduated as Honor Student at Palatine High School -Attended Oakton Community College


Aug 12, 2016
Episode 120- Talking Dragons with Mike Luna 
What's going on?? Thanks for tuning in and continuing to follow the show.  This was a great conversation with one Mike Luna, someone who's work I have personally admired for close to a decade. Currently Mike is known for his line of dragons but when you dive into Mikes glass past he has a wide variety of work in his portfolio. We discuss his beginnings, what inspires his work as well as discussing his techniques used as he applies color and creates his masterpieces.  Hope you enjoy this fun chat with Mike Luna. 
Hello! My name is Michael Luna, I was born in Torrence, CA in 1978. I was raised in Santa Fe Springs CA up until I was 15 then I moved to O'brien Oregon to start High School at Illinois Valley High. After high school in 1996 I moved back to Los Angeles where I work in automotive retail.
By this time my older brother (Chris) had already started his journey of glassblowing. He would tell me on the phone how cool it was! So fast forward to 1999 when I get a phone call from Chris, he said "hey bro, wanna job" I dropped my whole life and moved back to Oregon. I worked in a production shop ran by a guy named Gilbert Velosco (still friends till this day) throughout the time I was there I made friends with a soon to be legend, Darby Holm. Darby took me under his wing and started to apprentice me in about 2000. learning under Darby changed my life! He and the Holms are like family to me. Well, I'm still in Oregon constantly learning and trying different things with glass. 
@mikeluna300 on instagram


Aug 8, 2016
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Episode 119- Waste vs. Scrap

For merchants, cost accounting is rather useful. The idea behind it is simple: buy cheap, sell expensive. To maximize your profits, you should use your limited resources (money) for activities that give you the best return on your investment.

Manufacturing, on the other hand, was usually less concerned with bookkeeping. With the different materials coming in and products going out, tools needed, and time used, it would have been difficult to keep track of it all. Historic manufacturers probably used more of a gut-feeling approach and experience to set their prices. Besides, their goal was often not profit maximization, but merely to have a good life. As Daniel Defoe observed: “There’s nothing more frequent, than for an Englishman to work till he has got his pocket full of money, and then go and be […] drunk, till, tis all gone.”
when manufacturing product each item has a specific COG required to complete.  this incudes the raw material to create,(direct cost), plus the gases, and labor(indirect costs)
part of this issue is whether or not we should determine the waste left after the manufacturing process of said item. Whether you pull points or attach blowpipes, there will be material that is scrap and considered waste. In some fields scrap is considered reusable so for this chat I will be referring to the leftovers as waste which is unable to be reused and therefor sold.
to use the food industry for an example they have plenty of waste associated with the manufacturing of meals. for example, If broccoli is on the menu then a bulk order of broccoli is needed.   say each head of broccoli weighs 1lb and comes in a 10lb box that cost $20.00.  . this would mean the cost of each unit of broccoli costs $2.00      Now when the broccoli is being processed to cook  a portion of the broccoli is removed and would be considered waste. lets use 50% as how much of the broccoli is removed which would mean 50% is left.   this would bring the true cost of each unit to $4.00 per headof broccoli since technically we just removed 50% of the weight but it still cost us $20.00 total.  
we can use the same concept when it comes to calculating cost of goods manufactured.  say for example a 2lb.- 3" wrap and rake spoon costs .50 to make in direct cost (raw material)and an additional  indirect cost(overhead) of .50.   this unit  would initially cost $1.00 to manufacture. after the item is made you are left with a little bit of waste which for the sake  of this example lets call it  1/2 lb of material.   when weestimated our baseline costs for each item we figured a 3"w/r spoon weighs 2lbs (chunky spoon) which costs $1.00 to make,  so if we do the math and break down the cost,  we can determine that the waste costs (.50/lb=.25 in waste)  now if you work for a week and manufacture 100- 3'wrap and rakes you will have an estimated amount of waste at $25.00   multiply that by 12- months and  you'll see that theres approx $300.00 in waste.   this is one way to look at it.. 100/week=$25.00 in waste 
the other perspective is to increase the direct cost to manufacture each item by adding the waste back into the peice.   We figured to waste cost .25 and the actual item when complete weighs 1.5lbs.  so you can then add the .25 back into the cost to manufacture the item which would mean the 1.5lbs of material costs $1.00.
in the end talk to your accountant and ask them what they recomend you do to keep track of this info.  whether A- you seperate the true cost to manufacture from waste. or B. you ignore the waste but increase the cost of goods by the amount of the value you predetermined for the item manufactured.
Either way before you begin adding new items to your catalog, estimate the direct cost(raw material) to manufacture as well as Overhead(indirect cost) when figuring out costs per item made. this will not only give you a baseline cost of your new products it will also give you a base line number to price your item to be sold at  both wholesale and retail.   
Manufacturing cost is the sum of costs of all resources consumed in the process of making a product. The manufacturing cost is classified into three categories: direct materials cost, direct labor cost and manufacturing overhead.

What are manufacturing costs?

Manufacturing costs are the costs necessary to convert raw materials into products. All manufacturing costs must be attached to the units produced for external financial reporting under US GAAP. The resulting unit costs are used for inventory valuation on the balance sheet and for the calculation of the cost of goods sold on the income statement.

Manufacturing costs are typically divided into three categories...
  1. Direct materials. This is the cost of the materials which become part of the finished product. For example, the cost of wood is a direct material in the manufacture of wooden furniture.
  2. Direct labor. This is the cost of the wages of the individuals who are physically involved in converting raw materials into a finished product. For example, the wages of the person cutting wood into the specified lengths and the wages of the assemblers are direct labor costs in a furniture factory.
  3. Factory overhead or manufacturing overhead. Factory overhead refers to all other costs incurred in the manufacturing activity which cannot be directly traced to physical units in an economically feasible way. The wages of the person who inspects the completed furniture and the depreciation on the factory equipment are part of the factory overhead costs. Factory overhead is also described as indirect manufacturing costs.

Deduction for Food Waste

Restaurants, grocers and other businesses that carry food in inventory can deduct the cost of purchasing all of their food supplies like any other ordinary business expense. The business gains the tax deduction as soon as it incurs the expense, regardless of whether the food is sold to a customer or tossed into a dumpster. Because the deduction reduces the business’ taxable income, the total savings depends on at what rate the business is taxed.
Jul 31, 2016

Hey you.  How the hell are ya 

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