J9 Glass
J9 Glass
  • 970-589-5022
  • 719 Manitou Ave, #2 Manitou Springs, Colorado, United States (US)

Why Manitou Springs Loves Them

Jannine has been lampworking Effetre glass since 1999. Her first studio was in Red Cliff, Colorado. She was introduced to lampworking by a bead-maker in Dillon, CO while she was working in Vail. Jannine has shown her pieces all over the country at art shows and a variety of items have been sold at boutiques and galleries over the years.  She has had studios all over the country, including Jacksonville OR, Veguita NM, Delta CO, and she is on her third studio at the Manitou Art Center, having been a local on and off for 15 years. She has taught one-on-one bead-making classes to many locals and has donated many pieces to events and organizations over the years.  Recently (2020), Jannine has been showing her work at the Sangre De Cristo Art Center with the works of Dale Chihuly, Lino Tagliapetra, and priceless museum pieces. Her enthusiastic personality and colorful ways are well known in Manitou, and her work is carried by many boutiques in town.



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On a Personal Note…


Jannine Scott is a Colorado artist who specializes in manipulating molten glass with the use of a blowtorch. This technique is called, “Lampworking”. She works the glass in the air, in temperatures melting the glass at over more than 1700 degrees. The “raw material” that is melted comes in rod form. She works in Italian Soft glass (COE 104), as well as Borosilicate glass (COE 26) (Pyrex is a brand name for a kind of borosilicate glass). (COE=the Coefficient of Expansion- the rate at which the material will melt and cool.)  The borosilicate glass and the Italian Soft Glass, “Effetre” are not compatible. Sure, they would melt okay together if you forced them to do so, but upon kiln annealing and cooling they would absolutely crack, because they cool at different temperatures.  The Italian Soft Glass (“Effetre” glass) has similar melting and cooling qualities as the large scale “hot shop” or “furnace” glass, and it is just used on a much smaller scale in lampworking technique. The rod of glass melts very fast, and once it has started to melt and there is definitely an element of finesse and patience required to wield this medium. In addition, while working the Effetre glass in blowtorch flame, constant attention to where the heat is being concentrated and how that heat is maintained is very important. Borosilicate glass is a much more forgiving medium. Much higher temperatures must be focused on the work in order to become molten. The viscosity of each of these types of glass can be described as Borosilicate is like hardening taffy and Effetre is more like warm honey that stays gooey for a good while. Both mediums require absolute focus and attention to temperature inside and outside of the piece.

Jannine specializes in a technique called Murrine cane pulling, as well as complex lattichino (twisted cane) work. These techniques are used in much of her work. Murrine cane is like the milleflori paperweights you might see in a glass shop, where little flower, “chips” are magnified by being encased with clear glass. The little “chips” are called “Millleflori” and are (flowers) made using a type of mold while the glass is hot, then pulling long strands of this, and cutting small chips off of them for this effect. The thing that makes what Jannine does a little different, is that she specializes in a technique called, “The hot strip method”, where each line is applied while hot, to create a cross section that is then stretched and cut to make “chips” of the image created inside the cross section. This process is very time consuming and not only complex in concept but also in execution. Jannine works this technique in both borosilicate and Effetre glass.  If you see a small bee, ladybug, a cloud puking rainbows, or even the j9 signature, it is this technique that is being created to make those details happen. 

Latticino is a technique where color is added in various ways, and then twisted in the heat, into a decorative cane that is then used to decorate glass pieces. This technique is used often in traditional Italian Art glass, and was initially done in only milky white colored glass (before there were many colors, as there are now), which is where the name comes from, meaning “milky white strands”