1 00:00:00,900 --> 00:00:03,766 (furnace hissing) 2 00:00:10,533 --> 00:00:14,233 (furnace hissing continues) 3 00:00:16,866 --> 00:00:19,466 (upbeat music) 4 00:00:26,933 --> 00:00:30,400 (upbeat music continues) 5 00:01:24,966 --> 00:01:28,400 (upbeat music continues) 6 00:01:31,266 --> 00:01:35,533 (audience cheering and applauding) 7 00:01:38,400 --> 00:01:42,100 - Dale has always been of the school of four pairs of hands 8 00:01:42,166 --> 00:01:44,333 are better than just two pairs of hands. 9 00:01:44,400 --> 00:01:45,933 And when you put more heads together, 10 00:01:46,000 --> 00:01:47,900 more ideas are gonna come out. 11 00:01:47,966 --> 00:01:50,800 And what comes of that is generally quite amazing. 12 00:01:50,866 --> 00:01:54,233 I mean, I've never in my life encountered anyone like Dale 13 00:01:54,300 --> 00:01:57,233 who has this ability to bring people together 14 00:01:57,300 --> 00:01:59,533 and bring the best out in them. 15 00:02:11,833 --> 00:02:13,166 - Probably the most important reason 16 00:02:13,233 --> 00:02:16,700 that I wanted to do the blow at the Museum of Glass 17 00:02:16,766 --> 00:02:19,633 was really to have a reunion 18 00:02:19,700 --> 00:02:22,200 of all these gaffers that have worked for me. 19 00:02:22,266 --> 00:02:24,400 And a lot of 'em have worked together 20 00:02:24,466 --> 00:02:28,400 and everybody I called was happy to do it. 21 00:02:28,466 --> 00:02:31,166 And I think all of us had a really good time. 22 00:02:33,033 --> 00:02:35,866 - Okay, guys. We start to make it one Venetia. 23 00:02:35,933 --> 00:02:38,133 Everybody remember something? 24 00:02:38,200 --> 00:02:39,533 - [William] I got a lot of memory to bring back 25 00:02:39,600 --> 00:02:40,500 after 20 years. 26 00:02:43,833 --> 00:02:45,600 - Dale was a remarkable glass blower. 27 00:02:45,666 --> 00:02:49,166 You know, many people only associate Dale's glass making 28 00:02:49,233 --> 00:02:50,800 with other good gaffers. 29 00:02:50,866 --> 00:02:55,633 But had he chosen to pursue a career as a master craftsman, 30 00:02:56,766 --> 00:02:58,000 Dale could have been one of the best 31 00:02:58,066 --> 00:02:59,566 American glassblowers ever. 32 00:02:59,633 --> 00:03:03,200 I mean, he had an uncanny ability to work the glass hot. 33 00:03:03,266 --> 00:03:04,733 If he wanted to work it symmetrically, 34 00:03:04,800 --> 00:03:06,066 he could work it symmetrically. 35 00:03:06,133 --> 00:03:07,633 It's just that his calling was not 36 00:03:07,700 --> 00:03:09,933 to really be a master craftsman. 37 00:03:10,000 --> 00:03:12,566 His calling was to be a artist. 38 00:03:32,766 --> 00:03:35,400 (upbeat music) 39 00:03:39,900 --> 00:03:43,333 (upbeat music continues) 40 00:03:49,233 --> 00:03:51,900 (upbeat music continues) 41 00:03:51,966 --> 00:03:54,633 (upbeat music) 42 00:03:56,166 --> 00:03:58,933 (furnace hissing) 43 00:04:11,800 --> 00:04:15,233 (upbeat music continues) 44 00:04:39,700 --> 00:04:41,200 - [Dale] When I started the Blanket Cylinders 45 00:04:41,266 --> 00:04:44,266 or sometimes referred to as the Navajo Blanket Cylinders, 46 00:04:44,333 --> 00:04:46,933 they were inspired by an exhibition that I saw 47 00:04:47,000 --> 00:04:49,000 at the Museum of Fine Arts in Boston. 48 00:04:49,066 --> 00:04:53,066 I had also started collecting Pendleton blankets 49 00:04:53,133 --> 00:04:55,200 some years before that. 50 00:04:55,266 --> 00:04:57,833 It was really an excuse to have a motif 51 00:04:57,900 --> 00:04:59,800 to work from, the blanket 52 00:04:59,866 --> 00:05:03,066 and the blanket lended itself towards making drawings 53 00:05:03,133 --> 00:05:05,733 because they were straight lines like the warp 54 00:05:05,800 --> 00:05:07,233 and the weft of a Blanket. 55 00:05:23,300 --> 00:05:24,533 - [Dale] And so I started working 56 00:05:24,600 --> 00:05:26,900 with Kate Elliot on developing drawings 57 00:05:26,966 --> 00:05:30,066 that could be picked up on the steel plate 58 00:05:30,133 --> 00:05:31,933 and then blown into a cylinder shape. 59 00:05:32,000 --> 00:05:33,466 I made them a cylinder shape 60 00:05:33,533 --> 00:05:36,133 because it was sort of a neutral format 61 00:05:36,200 --> 00:05:38,566 so you could really look at the drawings. 62 00:05:52,466 --> 00:05:53,866 - [Dale] I worked on the cylinder series 63 00:05:53,933 --> 00:05:55,800 for about two years, first with Kate 64 00:05:55,866 --> 00:05:58,433 and then with Flora Mace doing the drawings. 65 00:05:58,500 --> 00:06:00,166 And the drawings became more and more 66 00:06:00,233 --> 00:06:01,800 sophisticated technically. 67 00:06:03,000 --> 00:06:04,033 Give me- - Start with a straight in. 68 00:06:04,100 --> 00:06:07,600 - Give me that much more. - Okay. 69 00:06:07,666 --> 00:06:12,033 - [Dale] Joey Kirkpatrick, I think came to Pilchuck in 1979 70 00:06:13,500 --> 00:06:16,266 and we started working together shortly after that. 71 00:06:17,600 --> 00:06:20,633 As a team we worked for a long time together. 72 00:06:20,700 --> 00:06:23,866 Anything that needs a drawing on it, I always get a hold 73 00:06:23,933 --> 00:06:26,700 of Flora and Joey to work with me. 74 00:06:26,766 --> 00:06:29,333 They're fantastic to work with. 75 00:06:29,400 --> 00:06:32,033 (upbeat music) 76 00:06:40,266 --> 00:06:42,666 I like to go as far as I can with the series 77 00:06:42,733 --> 00:06:45,066 to feel like I've finished it more or less 78 00:06:45,133 --> 00:06:47,666 and then go on to something else. 79 00:06:47,733 --> 00:06:51,333 What happens is after I've worked on a series and leave it, 80 00:06:51,400 --> 00:06:54,333 then I'll come back to it five or 10 years later 81 00:06:54,400 --> 00:06:55,600 and work on it some more. 82 00:06:55,666 --> 00:06:58,333 In the case of the Cylinders, I went back 83 00:06:58,400 --> 00:07:00,666 and worked on it two or three different times. 84 00:07:01,866 --> 00:07:04,466 (upbeat music) 85 00:07:08,933 --> 00:07:10,833 - So if you want on this one, 86 00:07:10,900 --> 00:07:13,633 you might wanna pick up here and then roll 87 00:07:13,700 --> 00:07:16,466 because that's our shard off center there. 88 00:07:16,533 --> 00:07:17,400 - Alright. 89 00:07:19,333 --> 00:07:20,766 That's a big one. 90 00:07:22,100 --> 00:07:24,133 - [Joey] And a shard and some circles. 91 00:07:24,200 --> 00:07:25,366 A little bit of everything. 92 00:07:25,433 --> 00:07:26,400 - Hot damn. 93 00:07:27,766 --> 00:07:30,666 I'm about to bleach. - Okay, okay. 94 00:07:30,733 --> 00:07:35,333 (people chatting indistinctly) 95 00:07:35,400 --> 00:07:37,400 - I think I'll go this way first this time, Joey, 96 00:07:37,466 --> 00:07:39,066 and then I'll come back your way. 97 00:07:39,133 --> 00:07:41,233 I'll come back your way. Alright. 98 00:07:41,300 --> 00:07:43,000 You got it. You ready? 99 00:07:43,066 --> 00:07:43,966 - Yep. 100 00:07:44,033 --> 00:07:45,166 A lot of way. 101 00:07:49,633 --> 00:07:51,600 Nice. Watch out, there. 102 00:07:56,166 --> 00:07:58,033 Yeah, that's good. 103 00:07:58,100 --> 00:08:01,000 20 seconds. - That's good. You got it. 104 00:08:01,066 --> 00:08:02,933 That line right there. 105 00:08:04,000 --> 00:08:07,733 (audience applauding and cheering) 106 00:08:59,533 --> 00:09:02,500 (blowtorch hissing) 107 00:09:05,700 --> 00:09:09,566 - All right give me. A little punishment here. 108 00:09:10,533 --> 00:09:12,366 I'll put it up on the rail. 109 00:09:12,433 --> 00:09:15,066 (upbeat music) 110 00:09:16,866 --> 00:09:19,166 (blowtorch hissing) 111 00:09:19,233 --> 00:09:20,600 (upbeat music continues) 112 00:09:30,366 --> 00:09:32,700 - He's got it. He's got it. 113 00:09:32,766 --> 00:09:34,566 - Don't rent this paper too much when I'm doing this, 114 00:09:34,633 --> 00:09:36,366 I don't want fracture this bottom. 115 00:09:37,866 --> 00:09:41,266 - This interior color's quite nice with white flecks in it. 116 00:09:42,833 --> 00:09:46,866 (upbeat music continues) 117 00:09:46,933 --> 00:09:48,133 - There we go. 118 00:09:50,000 --> 00:09:50,866 Hold her. 119 00:09:54,966 --> 00:09:55,833 - Tony. 120 00:09:58,500 --> 00:10:02,833 (audience applauding and cheering) 121 00:10:08,800 --> 00:10:13,833 (people chattering in the background) 122 00:10:14,833 --> 00:10:16,466 - [Dale] I think it was about 1977 123 00:10:16,533 --> 00:10:19,200 that I was visiting the Washington State Historical Society 124 00:10:19,266 --> 00:10:21,500 and looking at their Indian basket collection. 125 00:10:21,566 --> 00:10:23,800 It dawns on me that, hey, wouldn't it be interesting 126 00:10:23,866 --> 00:10:26,566 to try to make these baskets outta glass? 127 00:10:26,633 --> 00:10:29,400 A lot of the baskets are old and kind of crumply 128 00:10:29,466 --> 00:10:31,000 and they're not always straight and firm. 129 00:10:31,066 --> 00:10:33,500 And so I got into my mind that somehow I wanted 130 00:10:33,566 --> 00:10:36,000 to make them asymmetrical. 131 00:10:36,066 --> 00:10:38,233 And so first I would bang 'em with a paddle 132 00:10:38,300 --> 00:10:39,533 to beat 'em up a little bit. 133 00:10:39,600 --> 00:10:42,566 But I soon learned that if I just used the heat 134 00:10:42,633 --> 00:10:45,866 of the furnace and the fire, that I could get the same kind 135 00:10:45,933 --> 00:10:50,166 of movement from the fire itself and it was more beautiful. 136 00:10:50,233 --> 00:10:53,100 So all summer long I made these, 137 00:10:53,166 --> 00:10:55,166 I made 'em all outta the same color, 138 00:10:55,233 --> 00:10:57,633 kind of a tobacco color. 139 00:10:57,700 --> 00:11:02,000 The name of the color actually in German was Tabak 222. 140 00:11:02,066 --> 00:11:04,133 'Cause all the colors have a number. 141 00:11:04,200 --> 00:11:07,400 That was really the breakthrough series for me. 142 00:11:07,466 --> 00:11:10,900 Probably the most innovational thing I'd ever done in glass 143 00:11:10,966 --> 00:11:15,766 was to begin to form glass with fire, 144 00:11:16,800 --> 00:11:19,066 with gravity, with heat, 145 00:11:19,133 --> 00:11:20,833 with centrifugal force. 146 00:11:20,900 --> 00:11:24,566 I was using just human breath 147 00:11:24,633 --> 00:11:27,366 going down into this miraculous material, 148 00:11:27,433 --> 00:11:30,833 blowing it up to making it as thin as I could 149 00:11:30,900 --> 00:11:32,233 and getting it so hot 150 00:11:32,300 --> 00:11:34,833 that it would almost collapse and begin to move. 151 00:11:36,000 --> 00:11:38,733 And so I was pushing the edge of thinness 152 00:11:38,800 --> 00:11:42,866 and collapsibility and making new forms. 153 00:11:42,933 --> 00:11:45,533 (bright music) 154 00:11:45,600 --> 00:11:46,333 - Stop. 155 00:11:52,633 --> 00:11:55,966 (bright music continues) 156 00:11:59,700 --> 00:12:00,666 How you doing man? 157 00:12:00,733 --> 00:12:01,900 Oh, good to see you. 158 00:12:04,400 --> 00:12:05,366 - So glad you came down here. 159 00:12:05,433 --> 00:12:07,400 - I'm so glad I could. 160 00:12:07,466 --> 00:12:09,766 This has been a long time trying to remember this. 161 00:12:09,833 --> 00:12:10,933 Robbie, this time. 162 00:12:12,200 --> 00:12:14,866 (upbeat music) 163 00:12:17,966 --> 00:12:19,233 Dale. 164 00:12:19,300 --> 00:12:20,800 So this is the first one, right? 165 00:12:20,866 --> 00:12:23,700 And I'm just kind of trying to remember what we were doing. 166 00:12:23,766 --> 00:12:26,400 - You could do ones like this 167 00:12:26,466 --> 00:12:31,000 and then a make a bottom piece to have this go into. 168 00:12:31,066 --> 00:12:32,766 - Okay. - It'd be like pairs. 169 00:12:32,833 --> 00:12:35,833 - Alright, so this would just be the wrinkler around one? 170 00:12:35,900 --> 00:12:40,933 - Yeah. - Okay. 171 00:12:42,800 --> 00:12:44,533 Ah it touched. Did it touch? 172 00:12:44,600 --> 00:12:46,066 - Yeah. It touched. 173 00:12:46,133 --> 00:12:48,233 It looks like nice tobacco, that color. 174 00:12:48,300 --> 00:12:50,166 - Tobacco looks good. 175 00:12:50,233 --> 00:12:52,533 So anyways, we gotta touch on that. 176 00:12:52,600 --> 00:12:53,566 But everything looks good. Color? 177 00:12:53,633 --> 00:12:55,133 - Yeah, the wrinkles look good. 178 00:12:55,200 --> 00:12:56,466 - [William] Okay. 179 00:12:56,533 --> 00:12:59,100 - The body wrap you did looked real nice. 180 00:12:59,166 --> 00:13:01,366 - Do some more of those real thin ones maybe next time. 181 00:13:01,433 --> 00:13:02,433 - [Dale] Yeah. 182 00:13:02,500 --> 00:13:03,966 - Where are we putting this? 183 00:13:04,033 --> 00:13:06,433 Joey, that color was perfect. 184 00:13:06,500 --> 00:13:09,733 So if you're gonna do bigger ones, Jim, do the bigger ones. 185 00:13:09,800 --> 00:13:11,333 And I'll put the littler ones into. 186 00:13:11,400 --> 00:13:12,666 - So I'll do like a low shape. 187 00:13:12,733 --> 00:13:13,966 - Yeah, if you do like a lower shape. 188 00:13:14,033 --> 00:13:16,033 That's what he said. So that's what we'll do. 189 00:13:16,100 --> 00:13:19,100 The last time I made a basket was 25 years ago. 190 00:13:19,166 --> 00:13:21,400 The last time you and I worked together was 20 years ago. 191 00:13:21,466 --> 00:13:24,466 - We started working together as soon as I met him. 192 00:13:24,533 --> 00:13:25,500 The next day or so. 193 00:13:25,566 --> 00:13:26,433 - It was the next day. - Yeah. 194 00:13:26,500 --> 00:13:27,966 - Actually it was the same day. 195 00:13:28,033 --> 00:13:30,033 'Cause I think I picked you up after midnight. (laughs) 196 00:13:30,100 --> 00:13:31,333 Yeah, see that's it. 197 00:13:31,400 --> 00:13:33,100 That's what I was trying to do in five reheats. 198 00:13:33,166 --> 00:13:34,900 Dave, I'm gonna have you go with a little bit larger 199 00:13:34,966 --> 00:13:36,500 diameter punty for me. - Okay. 200 00:13:36,566 --> 00:13:38,800 - 'Cause I can't hold onto that little one. 201 00:13:38,866 --> 00:13:42,433 - [Dale] I first met Billy Morris in 1978, 202 00:13:42,500 --> 00:13:45,800 late at night at the Seattle Tacoma Airport 203 00:13:45,866 --> 00:13:49,200 because he was the driver that summer for Pilchuck. 204 00:13:49,266 --> 00:13:50,766 And one of their jobs is to pick up 205 00:13:50,833 --> 00:13:53,200 the faculty from the airport. 206 00:13:53,266 --> 00:13:56,466 And just when we got there, Billy said, 207 00:13:56,533 --> 00:13:58,166 "I know you work with a team." 208 00:13:58,233 --> 00:14:00,033 He said, "Would there be any chance 209 00:14:00,100 --> 00:14:02,766 that I could ever play a part in working with a team?" 210 00:14:02,833 --> 00:14:05,166 - When we got up to the school, 211 00:14:05,233 --> 00:14:06,800 I remember he walked onto the pad 212 00:14:06,866 --> 00:14:08,533 and it was one of the midnight blowing sessions 213 00:14:08,600 --> 00:14:11,966 and he picked up a blow pipe and he gathered some glass 214 00:14:12,033 --> 00:14:15,000 and he blew a small piece without using any tools. 215 00:14:16,133 --> 00:14:17,633 And you know, it wasn't the greatest piece 216 00:14:17,700 --> 00:14:19,100 of glass I've ever seen blown, 217 00:14:19,166 --> 00:14:21,766 but the approach to it was so fresh 218 00:14:21,833 --> 00:14:23,600 and I realized, so brilliant, 219 00:14:23,666 --> 00:14:25,733 that I was just, I was amazed. 220 00:14:27,033 --> 00:14:29,133 This guy was authentic. 221 00:14:29,200 --> 00:14:31,666 So, you know, at that point of course I said, 222 00:14:31,733 --> 00:14:34,166 "Hey, is there anything I can do to help you?" 223 00:14:34,233 --> 00:14:35,466 - [Dale] I remember I told him, I said, 224 00:14:35,533 --> 00:14:38,366 "Look I'll be starting at four in the morning. 225 00:14:38,433 --> 00:14:40,133 if you're there at four in the morning, 226 00:14:40,200 --> 00:14:41,600 I'll put you to work." 227 00:14:41,666 --> 00:14:42,566 - [William] He says, "Well, yeah, show up 228 00:14:42,633 --> 00:14:44,366 on the pat in about four hours." 229 00:14:44,433 --> 00:14:45,700 And we started working together 230 00:14:45,766 --> 00:14:47,533 and I worked together with him for 10 years. 231 00:14:48,700 --> 00:14:52,500 (people chattering indistinctly) 232 00:14:52,566 --> 00:14:56,700 - [Dale] And he was, you know, unbelievably talented. 233 00:14:56,766 --> 00:14:58,566 He was one of the best I'd ever seen. 234 00:14:58,633 --> 00:15:01,633 And I had already lost the sight of my eye, 235 00:15:01,700 --> 00:15:03,900 which made it difficult for me to work. 236 00:15:03,966 --> 00:15:06,233 And then somewhere in there, early eighties, 237 00:15:06,300 --> 00:15:09,433 I think I dislocated my right shoulder 238 00:15:09,500 --> 00:15:11,833 and that made it impossible to blow glass. 239 00:15:11,900 --> 00:15:13,833 So I had Billy be the gaffer 240 00:15:13,900 --> 00:15:16,066 as we called the head of the team. 241 00:15:16,133 --> 00:15:17,866 - Kind of think about the size we were going. 242 00:15:17,933 --> 00:15:19,266 - You want me to make this? - Yeah, you're making this. 243 00:15:19,333 --> 00:15:20,200 - Okay. - Okay. 244 00:15:20,266 --> 00:15:21,633 - [Dale] He did such a great job 245 00:15:21,700 --> 00:15:25,333 and I really liked actually not being the gaffer. 246 00:15:25,400 --> 00:15:29,333 And so till this day I rarely blow glass. 247 00:15:33,733 --> 00:15:35,700 - [William] There. Look at that! 248 00:15:35,766 --> 00:15:36,533 - Yeah. See how stretched out- 249 00:15:36,600 --> 00:15:37,433 - That one is nice. 250 00:15:37,500 --> 00:15:39,200 Yeah. That's the way. 251 00:15:39,266 --> 00:15:41,466 You got good tobacco color too. 252 00:15:41,533 --> 00:15:43,900 - [Dale] I got used to watching what was going on 253 00:15:43,966 --> 00:15:45,400 and not doing it. 254 00:15:45,466 --> 00:15:49,000 But I'll tell you, Billy is one of the most talented, 255 00:15:49,066 --> 00:15:50,866 one of the nicest people 256 00:15:50,933 --> 00:15:53,466 that I've ever had the pleasure of working with. 257 00:15:53,533 --> 00:15:54,533 - Whoops! (blowtorch hissing) 258 00:15:54,600 --> 00:15:55,666 My fault. - I'm sorry. 259 00:15:55,733 --> 00:15:57,666 (William laughing) 260 00:15:57,733 --> 00:16:00,300 (upbeat music) 261 00:16:05,100 --> 00:16:08,333 (audience applauding) 262 00:16:10,400 --> 00:16:13,866 (upbeat music continues) 263 00:16:14,766 --> 00:16:16,633 - [Dale] That felt pretty good. 264 00:16:16,700 --> 00:16:17,533 - Yeah, well that was kind of like, 265 00:16:17,600 --> 00:16:18,800 those early earliest ones. 266 00:16:18,866 --> 00:16:19,833 - I was wondering now why you were open. 267 00:16:19,900 --> 00:16:21,000 I think that was about right.- 268 00:16:21,066 --> 00:16:22,333 - Yeah. Yeah. 269 00:16:22,400 --> 00:16:23,933 They were still just, just in a little bit. 270 00:16:33,400 --> 00:16:36,333 (crowd chattering) 271 00:16:39,033 --> 00:16:43,233 - [Dale] Now glass is defined as a super cooled liquid 272 00:16:43,300 --> 00:16:46,500 and it's transparent like water. 273 00:16:46,566 --> 00:16:49,500 And so the idea that the objects 274 00:16:49,566 --> 00:16:52,766 end up looking like they came from the sea is no accident. 275 00:16:52,833 --> 00:16:55,466 It is almost like water itself. 276 00:16:55,533 --> 00:16:57,400 So when you're making and blowing 277 00:16:57,466 --> 00:16:59,400 and forming the glass, 278 00:16:59,466 --> 00:17:02,733 if you wanna push it towards an organic form 279 00:17:02,800 --> 00:17:05,233 that is as if it came from the sea, 280 00:17:05,300 --> 00:17:07,333 it happens just naturally. 281 00:17:13,700 --> 00:17:16,366 (upbeat music) 282 00:17:22,033 --> 00:17:24,166 - So this is a spiral wrap that's going on right now, 283 00:17:24,233 --> 00:17:26,266 which ends up being the decoration. 284 00:17:26,333 --> 00:17:29,466 And it's just a fine thread that's going onto the glass 285 00:17:29,533 --> 00:17:31,033 that's just sitting on the surface. 286 00:17:31,100 --> 00:17:33,766 He'll then take it to the glory hole, melt it in, 287 00:17:33,833 --> 00:17:35,066 get it good and hot, 288 00:17:35,133 --> 00:17:37,800 and then we'll plunge it into the optic mold. 289 00:17:37,866 --> 00:17:39,000 ♪ I thought the beast 290 00:17:39,066 --> 00:17:41,066 - [Dale] I was making the baskets 291 00:17:42,400 --> 00:17:43,833 in the seventies 292 00:17:43,900 --> 00:17:46,866 and at one point I wanted to make the baskets thinner 293 00:17:46,933 --> 00:17:48,733 and they were already quite thin. 294 00:17:48,800 --> 00:17:51,600 So I stuffed them into what we call an optical mold, 295 00:17:51,666 --> 00:17:54,633 which is a ribbed mold that ends up making the glass 296 00:17:54,700 --> 00:17:58,466 sort of like corrugated cardboard in terms of structure. 297 00:17:58,533 --> 00:18:00,633 Theoretically that would allow you to make it thinner 298 00:18:00,700 --> 00:18:02,266 because it's stronger. 299 00:18:02,333 --> 00:18:05,233 And when I did that, of course that optical mold 300 00:18:05,300 --> 00:18:10,033 or that corrugated ribbed feeling made it look like a shell. 301 00:18:10,100 --> 00:18:14,433 So, you know, as soon as I did it, one thought shell. 302 00:18:14,500 --> 00:18:18,166 And then, you know, I liked the idea that it was a shell 303 00:18:18,233 --> 00:18:20,133 and so changed the name of, 304 00:18:20,200 --> 00:18:23,033 I didn't really change the name from baskets to Seaforms, 305 00:18:23,100 --> 00:18:26,133 it's just that the baskets became the Seaforms 306 00:18:26,200 --> 00:18:27,933 and then of course we extended 307 00:18:28,000 --> 00:18:32,166 and pushed it to a more aquatic feeling. 308 00:18:32,233 --> 00:18:33,900 You know, there's no end to that too. 309 00:18:33,966 --> 00:18:35,766 I mean, I could literally make Seaforms probably 310 00:18:35,833 --> 00:18:37,266 for the rest of my life. 311 00:18:37,333 --> 00:18:40,633 And that's a series that I have continued to make 312 00:18:40,700 --> 00:18:43,066 because you can always take that in a different way, 313 00:18:43,133 --> 00:18:44,433 in a different direction. 314 00:18:56,066 --> 00:19:01,033 - [Dale] I met Benny Moore in 1974 at Pilchuck. 315 00:19:02,233 --> 00:19:06,433 He was particularly good at symmetrical shapes, 316 00:19:06,500 --> 00:19:08,433 but he was good at everything really. 317 00:19:08,500 --> 00:19:10,933 He's a fantastic glassblower 318 00:19:11,000 --> 00:19:14,333 and he really worked with me on the team 319 00:19:14,400 --> 00:19:18,033 and started off with Navajo Blanket Cylinders 320 00:19:19,100 --> 00:19:21,366 and then baskets and Seaforms. 321 00:19:55,200 --> 00:19:59,033 (upbeat music continues) 322 00:19:59,100 --> 00:20:02,000 (furnace roaring) 323 00:20:03,433 --> 00:20:06,866 (upbeat music continues) 324 00:20:12,100 --> 00:20:16,733 (people chatting indistinctly) 325 00:20:16,800 --> 00:20:19,200 - I got a thin bottom. 326 00:20:19,266 --> 00:20:20,633 Watch your feet. 327 00:20:21,766 --> 00:20:23,666 Take it, Tony. 328 00:20:23,733 --> 00:20:27,200 (upbeat music continues) 329 00:20:29,933 --> 00:20:35,000 (glass shatters) (crowd exclaims) 330 00:20:48,800 --> 00:20:52,966 (audience cheering and applauding) 331 00:20:54,566 --> 00:20:58,000 (upbeat music continues) 332 00:21:01,100 --> 00:21:02,700 - Alright. - Okay. 333 00:21:02,766 --> 00:21:04,166 - Better off there. 334 00:21:16,300 --> 00:21:21,333 - All right. (audience cheers and applauds) 335 00:21:26,866 --> 00:21:28,233 Impressive, huh? 336 00:21:36,166 --> 00:21:39,133 (crowd chattering) 337 00:21:40,466 --> 00:21:41,833 - [Dale] You know, I woke up one morning 338 00:21:41,900 --> 00:21:45,266 having worked for a year or two on the Seaforms 339 00:21:45,333 --> 00:21:48,600 and just decided I wanted to do something different. 340 00:21:48,666 --> 00:21:51,266 And I guess I woke up with the idea that I would work 341 00:21:51,333 --> 00:21:54,900 with all 300 colors that were available to us. 342 00:21:54,966 --> 00:21:57,600 That we bought these color rods from Germany. 343 00:21:59,433 --> 00:22:02,166 And so I decided I would use all 300 of them. 344 00:22:02,233 --> 00:22:05,100 And so I put one color on the inside, 345 00:22:05,166 --> 00:22:10,033 then sort of a translucent or opaque white in the middle 346 00:22:10,100 --> 00:22:13,033 and then another color on the outside. 347 00:22:13,100 --> 00:22:17,933 And because these white was put on as big chunks of white 348 00:22:18,000 --> 00:22:20,500 to give it more texture and variety, 349 00:22:20,566 --> 00:22:22,833 they ended up looking like clouds. 350 00:22:22,900 --> 00:22:27,400 There is a never ending potential for color with the Macchia 351 00:22:27,466 --> 00:22:29,866 because there's so many different color layers 352 00:22:29,933 --> 00:22:32,500 and so many different colors available. 353 00:22:32,566 --> 00:22:36,600 We could never exhaust the color possibilities with Macchia. 354 00:22:36,666 --> 00:22:38,666 You do a piece about this size. 355 00:22:38,733 --> 00:22:39,866 - Okay. 356 00:22:39,933 --> 00:22:41,533 - And then I'll have Jimmy do this, 357 00:22:41,600 --> 00:22:43,700 we'll do two part Macchia, 358 00:22:43,766 --> 00:22:46,133 which means we want to keep the color the same. 359 00:22:46,200 --> 00:22:47,833 - These guys know that? - No. 360 00:22:47,900 --> 00:22:49,200 - Tell 'em. I'll tell 'em. 361 00:22:49,266 --> 00:22:50,633 - [Dale] Tell them, yeah. 362 00:22:50,700 --> 00:22:55,066 - John, so these are gonna be two part Macchias. 363 00:22:55,133 --> 00:22:57,100 I'll do this one. It'll be the smaller one. 364 00:22:57,166 --> 00:22:58,400 Jim will do the lower. 365 00:22:58,466 --> 00:23:00,033 We'll just keep that theme up through these. 366 00:23:01,266 --> 00:23:03,366 So we'll color coordinate these in the set. 367 00:23:03,433 --> 00:23:06,066 (upbeat music) 368 00:23:12,300 --> 00:23:16,366 (upbeat music continues) 369 00:24:58,700 --> 00:25:02,700 (audience cheering and applauding) 370 00:25:02,766 --> 00:25:06,200 (upbeat music continues) 371 00:25:13,000 --> 00:25:15,700 - [William] Dave. Do that again. 372 00:25:17,466 --> 00:25:20,900 (upbeat music continues) 373 00:27:06,000 --> 00:27:07,166 - Great job. 374 00:27:07,233 --> 00:27:08,333 - That's fine 375 00:27:15,566 --> 00:27:18,100 (funky music) 376 00:27:19,566 --> 00:27:22,600 (blowtorch hissing) 377 00:27:24,033 --> 00:27:26,633 - [Dale] The Persians, that's one of the most difficult 378 00:27:26,700 --> 00:27:28,433 series to describe. 379 00:27:28,500 --> 00:27:32,733 I mean it started off that they were geometric shapes. 380 00:27:32,800 --> 00:27:34,633 It was a search for new forms. 381 00:27:35,900 --> 00:27:38,033 - Hey, how many have you seen glass blowing before? 382 00:27:46,900 --> 00:27:48,133 - [Dale] I got Martin Blank 383 00:27:48,200 --> 00:27:49,700 when he first came out to work for me 384 00:27:49,766 --> 00:27:51,900 from the Rhode Island School of Design 385 00:27:51,966 --> 00:27:55,500 to start working on some new forms for me. 386 00:27:55,566 --> 00:27:57,933 I was working with a big team up at Pilchuck 387 00:27:58,000 --> 00:28:00,766 on one side of the shop and I got Martin and Robbie Miller 388 00:28:00,833 --> 00:28:02,766 to work over in the corner 389 00:28:02,833 --> 00:28:05,266 and I'd make little drawings for them. 390 00:28:05,333 --> 00:28:08,200 You know, I might make 20 or 30 drawings on a page. 391 00:28:08,266 --> 00:28:11,000 And then the ones I liked, I'd put an X underneath them 392 00:28:11,066 --> 00:28:12,900 and then they would sort of experiment 393 00:28:12,966 --> 00:28:14,700 with trying to make that shape. 394 00:28:14,766 --> 00:28:16,533 And we worked for a year on doing 395 00:28:16,600 --> 00:28:19,400 only experimental Persians. 396 00:28:19,466 --> 00:28:22,500 You know, we made at least a thousand or more. 397 00:28:22,566 --> 00:28:26,433 And so, you know, I got to pick and choose from these parts 398 00:28:26,500 --> 00:28:28,366 and develop a new series. 399 00:28:38,066 --> 00:28:39,900 - [Dale] And the name came from simply, 400 00:28:39,966 --> 00:28:41,866 I just liked the name Persian. 401 00:28:41,933 --> 00:28:46,300 It conjured up sort of near Eastern Byzantine, 402 00:28:46,366 --> 00:28:49,400 Far East, Venice. 403 00:28:49,466 --> 00:28:52,066 All of the trades, smells, scents. 404 00:28:52,133 --> 00:28:56,933 It was an exotic name to me, so I just called them Persians. 405 00:29:05,966 --> 00:29:08,466 - Yeah. (audience applauds) 406 00:29:08,533 --> 00:29:10,633 Now magically Jim is right behind 407 00:29:10,700 --> 00:29:12,433 with a wrapped piece ready to go. 408 00:29:12,500 --> 00:29:15,200 So we keep the beat, the whole movement happening. 409 00:29:36,533 --> 00:29:38,500 (audience applauding) 410 00:29:38,566 --> 00:29:39,566 - Ready? 411 00:29:41,666 --> 00:29:44,033 - Watch it there. Come down close to the pipe. 412 00:29:45,066 --> 00:29:46,666 - Hold it straight out maybe. 413 00:29:46,733 --> 00:29:47,800 - Okay. 414 00:29:49,400 --> 00:29:50,733 - How's that, Dale? 415 00:29:50,800 --> 00:29:52,733 - It's alright. It's good. 416 00:29:57,966 --> 00:29:58,833 - Take it. 417 00:30:03,800 --> 00:30:07,000 (audience applauding) 418 00:30:22,400 --> 00:30:26,333 (people chatting indistinctly) 419 00:30:33,366 --> 00:30:35,333 - That's a little big, huh? Wow. 420 00:30:35,400 --> 00:30:37,400 Okay, guy, we started to make one Venetia. 421 00:30:37,466 --> 00:30:38,966 Everybody remember something? 422 00:30:39,033 --> 00:30:39,833 - A little bit, sure. 423 00:30:39,900 --> 00:30:41,400 - Okay. Red leaf. 424 00:30:41,466 --> 00:30:42,866 - Red leaf. Okay. 425 00:30:42,933 --> 00:30:44,333 And what about the stem? 426 00:30:44,400 --> 00:30:47,366 - The stem, but maybe we do do everything red. 427 00:30:47,433 --> 00:30:48,566 We do monochrome. 428 00:30:49,800 --> 00:30:50,666 - And (indistinct) and everything? 429 00:30:50,733 --> 00:30:51,533 - Everything. 430 00:30:51,600 --> 00:30:52,433 Fantastic. I like it. 431 00:30:53,633 --> 00:30:56,166 (upbeat music) 432 00:31:03,433 --> 00:31:05,900 (upbeat music continues) 433 00:31:05,966 --> 00:31:09,200 (blowtorches hissing) 434 00:31:15,433 --> 00:31:17,200 (upbeat music continues) 435 00:31:17,266 --> 00:31:19,800 - [Dale] The Venetians started, because Lino came to me 436 00:31:19,866 --> 00:31:22,066 and he said, "It'd be great to work with you 437 00:31:22,133 --> 00:31:23,266 on a series sometime. 438 00:31:23,333 --> 00:31:25,366 You use all these American gaffers." 439 00:31:25,433 --> 00:31:26,900 Well, I was a little reluctant 440 00:31:26,966 --> 00:31:29,566 because most of the American gaffers that I worked with, 441 00:31:29,633 --> 00:31:32,133 I trained myself and working with them 442 00:31:32,200 --> 00:31:33,533 and they understood the way I worked. 443 00:31:33,600 --> 00:31:35,766 And we worked in an asymmetrical way 444 00:31:35,833 --> 00:31:37,600 that's not very traditional. 445 00:31:37,666 --> 00:31:41,966 So working with a real European master 446 00:31:42,033 --> 00:31:45,233 that worked symmetrically was gonna be a challenge 447 00:31:45,300 --> 00:31:47,366 because my work wasn't symmetrical. 448 00:31:47,433 --> 00:31:51,100 But I said yes, and we made a date for the next summer 449 00:31:51,166 --> 00:31:53,700 because Lino came every year to Pilchuck. 450 00:31:53,766 --> 00:31:54,933 You know, that winter I was trying to figure out, 451 00:31:55,000 --> 00:31:56,366 well, what am I gonna do? 452 00:31:56,433 --> 00:31:59,466 And I went to Italy sometime during that winter 453 00:31:59,533 --> 00:32:01,000 and I saw a great collection 454 00:32:01,066 --> 00:32:04,100 of sort of art deco Venetian glass 455 00:32:04,166 --> 00:32:06,800 that I'd never seen before in this palazzo. 456 00:32:06,866 --> 00:32:10,866 And I was stunned at how unbelievably innovative 457 00:32:10,933 --> 00:32:14,033 and beautiful these 1920s, 30s pieces were. 458 00:32:14,100 --> 00:32:17,366 So, gee, I thought, you know, when Lino came next summer 459 00:32:17,433 --> 00:32:19,000 that I would have him make these for me. 460 00:32:19,066 --> 00:32:22,666 I would pretend like I was a designer in 1920s 461 00:32:22,733 --> 00:32:26,733 and make these sort of eccentric art deco pieces 462 00:32:26,800 --> 00:32:31,833 with reds and blacks and golds and greens and handles. 463 00:32:33,066 --> 00:32:34,633 And so Lino came and I drew sketched one out 464 00:32:34,700 --> 00:32:36,700 and we started working and made one. 465 00:32:36,766 --> 00:32:38,800 And by the time the day was over with, 466 00:32:38,866 --> 00:32:42,566 I'd already begin to slide into something new. 467 00:32:42,633 --> 00:32:45,400 My mind couldn't stay in the 1920s, I guess. 468 00:32:45,466 --> 00:32:49,533 And I started making more eccentric things. 469 00:32:49,600 --> 00:32:51,366 But I think we worked for two weeks 470 00:32:51,433 --> 00:32:53,533 and by the time the two weeks was finished, 471 00:32:53,600 --> 00:32:55,733 the series had taken on a life of its own, 472 00:32:57,000 --> 00:33:00,466 you know, calling on forms and techniques 473 00:33:00,533 --> 00:33:04,766 and aspects of glass from throughout history. 474 00:33:05,766 --> 00:33:08,366 (upbeat music) 475 00:33:11,600 --> 00:33:12,766 It's a never ending thing. 476 00:33:12,833 --> 00:33:14,700 I mean, I could make them forever. 477 00:33:14,766 --> 00:33:16,666 I mean, all I have to do is make a drawing, 478 00:33:16,733 --> 00:33:19,200 put it up on the wall up next to the furnace 479 00:33:19,266 --> 00:33:21,100 and Lino interprets it 480 00:33:21,166 --> 00:33:23,766 and he always interprets it in his own way. 481 00:33:23,833 --> 00:33:25,833 So there's a lot of creativity from Lino 482 00:33:25,900 --> 00:33:27,333 and the other people on the team. 483 00:33:27,400 --> 00:33:29,400 If you want to make a tall one. 484 00:33:29,466 --> 00:33:30,566 - Okay. 485 00:33:30,633 --> 00:33:32,266 - [Dale] With one or two coils. 486 00:33:32,333 --> 00:33:33,533 - Okay, sure. 487 00:33:33,600 --> 00:33:35,366 - But it doesn't have to be that shape. 488 00:33:35,433 --> 00:33:36,366 - Okay. - Whatever shape. 489 00:33:36,433 --> 00:33:37,766 - Okay. - Lagona, whatever. 490 00:33:37,833 --> 00:33:39,300 - We'll do it. Okay. 491 00:33:39,366 --> 00:33:41,566 - [Dale] I mean, I do drawings for Macchia and Seaforms, 492 00:33:41,633 --> 00:33:45,200 but they're usually more of an abstraction or a color. 493 00:33:46,233 --> 00:33:48,133 The Venetians, the drawings really 494 00:33:48,200 --> 00:33:50,400 often look like the pieces. 495 00:33:52,466 --> 00:33:53,833 (upbeat music) 496 00:34:01,000 --> 00:34:03,133 - [Lino] We start to make two leaf. 497 00:34:03,200 --> 00:34:05,600 (both speak indistinctly) 498 00:34:10,833 --> 00:34:12,066 - [Lino] We need to be organized, 499 00:34:12,133 --> 00:34:14,833 need to be better at everything. 500 00:34:17,633 --> 00:34:19,733 Okay, great. I like that. 501 00:34:35,333 --> 00:34:38,366 (blowtorch hissing) 502 00:34:40,066 --> 00:34:42,266 - Big torch. Not my fault. 503 00:34:48,033 --> 00:34:50,600 Put that in the back, Kelly. 504 00:34:50,666 --> 00:34:51,866 Stay there. 505 00:34:51,933 --> 00:34:55,366 (upbeat music continues) 506 00:34:56,366 --> 00:34:57,500 Slowly to me. 507 00:35:00,233 --> 00:35:02,366 (Lino speaks indistinctly) 508 00:35:02,433 --> 00:35:05,633 (blowtorches hissing) 509 00:35:21,100 --> 00:35:24,500 (objects clinking) 510 00:35:24,566 --> 00:35:25,800 (audience applauding) 511 00:35:25,866 --> 00:35:26,833 - Good job. 512 00:35:28,800 --> 00:35:30,733 - Thank you. - Thanks, Lino. 513 00:35:30,800 --> 00:35:32,300 - Thank you. 514 00:35:32,366 --> 00:35:34,333 - Very nice, huh. Beautiful. 515 00:35:34,400 --> 00:35:37,633 (audience applauding) 516 00:35:41,200 --> 00:35:44,233 (blowtorch hissing) 517 00:35:46,800 --> 00:35:48,500 - Jaco, Jaco, Mario. 518 00:35:49,933 --> 00:35:53,200 - [Dale] You know, the Putti are these little characters. 519 00:35:53,266 --> 00:35:54,700 They're male 520 00:35:54,766 --> 00:35:56,800 and they were used in Renaissance in Baroque times 521 00:35:56,866 --> 00:35:59,800 and they were put up in the church or in the paintings 522 00:35:59,866 --> 00:36:02,066 and around, and they were carved out of wood 523 00:36:02,133 --> 00:36:03,666 or made outta plaster. 524 00:36:03,733 --> 00:36:07,300 And they were meant to sort of make people feel good 525 00:36:07,366 --> 00:36:10,000 and to get people together. 526 00:36:10,066 --> 00:36:13,666 And maybe they were a little mischievous, but not normally, 527 00:36:14,800 --> 00:36:16,266 they were just meant to be a good time. 528 00:36:16,333 --> 00:36:20,533 And they looked good. And it talked about probably youth. 529 00:36:20,600 --> 00:36:24,633 Now I must have seen a Putto in glass 530 00:36:24,700 --> 00:36:27,466 or a thought, or I don't know how I came about it, 531 00:36:27,533 --> 00:36:30,166 but I asked Pino to make a Putto 532 00:36:31,300 --> 00:36:33,966 and it was just, I just loved it in glass. 533 00:36:34,033 --> 00:36:37,566 He looked better in glass than he ever looked in wood 534 00:36:37,633 --> 00:36:39,666 or plaster or bronze. 535 00:36:39,733 --> 00:36:44,800 It's just somehow the perfect material for a Putto is glass. 536 00:36:46,033 --> 00:36:48,700 And so whenever I can get Pino to come over 537 00:36:48,766 --> 00:36:51,133 or sometimes I go to Murano, 538 00:36:51,200 --> 00:36:53,000 I always wanna make Putti with him. 539 00:36:56,800 --> 00:36:58,133 I just love these Putti. 540 00:36:58,200 --> 00:37:01,200 So I make 'em, I mean it's a completely, you know, 541 00:37:01,266 --> 00:37:03,266 whacked out series that doesn't relate 542 00:37:03,333 --> 00:37:04,833 to anything else I do. 543 00:37:06,766 --> 00:37:09,033 Not unlike, I suppose the Venetians were completely 544 00:37:09,100 --> 00:37:10,866 different from anything I had done. 545 00:37:11,700 --> 00:37:12,566 Thank you. 546 00:37:13,566 --> 00:37:16,333 (upbeat music) 547 00:37:16,400 --> 00:37:19,433 (blowtorch hissing) 548 00:37:27,000 --> 00:37:30,466 (upbeat music continues) 549 00:37:33,466 --> 00:37:37,233 (people speaking in Italian) 550 00:37:41,033 --> 00:37:44,500 (upbeat music continues) 551 00:38:00,000 --> 00:38:03,000 (blowtorch hissing) 552 00:38:08,566 --> 00:38:12,033 (upbeat music continues) 553 00:38:19,166 --> 00:38:22,633 (upbeat music continues) 554 00:38:24,066 --> 00:38:27,666 I wanted to tell you a little bit about Pino Signoretto. 555 00:38:27,733 --> 00:38:31,233 I consider him the best glass sculptor alive. 556 00:38:31,300 --> 00:38:34,600 He's an unbelievable artist. 557 00:38:34,666 --> 00:38:37,766 And tonight we're gonna make a lobster, 558 00:38:37,833 --> 00:38:40,700 which he's working on right now, that'll be attached 559 00:38:40,766 --> 00:38:44,466 to a stopper that will then go on a big jug. 560 00:38:44,533 --> 00:38:49,433 Certain animals look really, really good in glass. 561 00:38:49,500 --> 00:38:51,633 The lobster's one that I think looks better 562 00:38:51,700 --> 00:38:53,533 in glass than anything else. 563 00:38:53,600 --> 00:38:57,733 So enjoy watching one of the great masters that's ever been. 564 00:38:59,500 --> 00:39:02,566 (audience applauding) 565 00:39:02,633 --> 00:39:04,566 (upbeat music continues) 566 00:39:04,633 --> 00:39:06,866 (people speaking Italian) 567 00:39:06,933 --> 00:39:10,000 (blowtorch hissing) 568 00:39:19,933 --> 00:39:23,366 (upbeat music continues) 569 00:39:28,700 --> 00:39:31,766 (blowtorch hissing) 570 00:39:36,966 --> 00:39:41,100 (Tom Tom Club singing in French) 571 00:39:44,466 --> 00:39:48,433 (people speaking indistinctly) 572 00:39:49,833 --> 00:39:50,933 - Okay, go! 573 00:39:51,000 --> 00:39:54,966 (audience applauding and cheering) 574 00:39:59,466 --> 00:40:03,533 (audience applauding continues) 575 00:40:09,233 --> 00:40:12,266 (upbeat rock music) 576 00:40:20,100 --> 00:40:23,966 (upbeat rock music continues) 577 00:40:28,733 --> 00:40:30,200 - [Dale] You know, I have a great time working 578 00:40:30,266 --> 00:40:35,100 with Jimmy Mongrain because he's very strong, very skilled, 579 00:40:36,233 --> 00:40:37,833 and he's a great guy to work with. 580 00:40:37,900 --> 00:40:40,700 And one thing that I really like about him 581 00:40:40,766 --> 00:40:43,566 is that he loves to work large. 582 00:40:43,633 --> 00:40:44,966 Doesn't make any difference what it is, 583 00:40:45,033 --> 00:40:46,566 what series he's working on. 584 00:40:47,833 --> 00:40:49,833 They just keep getting bigger and bigger. 585 00:40:49,900 --> 00:40:51,733 And I encourage that 586 00:40:51,800 --> 00:40:55,366 because I don't know, I'm sort of the same way. 587 00:40:55,433 --> 00:40:57,566 You know, I like pieces big. 588 00:40:57,633 --> 00:41:00,933 (upbeat music continues) 589 00:41:08,200 --> 00:41:10,933 Now Ikebana is a word, you know, that means, 590 00:41:11,000 --> 00:41:14,166 it's you know, a ritualistic type of flower arranging 591 00:41:15,466 --> 00:41:18,400 in Japan that I don't even know if I understand 592 00:41:18,466 --> 00:41:20,266 it's total relevance. 593 00:41:20,333 --> 00:41:23,333 But it's a very high art form 594 00:41:23,400 --> 00:41:24,833 and I just love the word Ikebana. 595 00:41:24,900 --> 00:41:27,800 So I used it because many of the Venetians, you know, 596 00:41:27,866 --> 00:41:30,100 had flower forms coming out of them. 597 00:41:30,166 --> 00:41:34,866 And I usually use the word Ikebana when the flower 598 00:41:34,933 --> 00:41:37,600 in the Venetian or flowers become separate. 599 00:41:38,966 --> 00:41:41,666 We pushed it as far as we could with the Venetians. 600 00:41:41,733 --> 00:41:43,233 The only other thing we could do 601 00:41:43,300 --> 00:41:46,733 is begin to make separate parts and add them into it. 602 00:41:46,800 --> 00:41:49,366 And that's really where the term Ikebana comes from. 603 00:41:49,433 --> 00:41:52,533 If it's a Venetian or a form that has separate parts 604 00:41:52,600 --> 00:41:55,366 coming out of it, then it's an Ikebana. 605 00:41:55,433 --> 00:41:58,800 (upbeat music continues) 606 00:42:21,733 --> 00:42:22,933 - [Jimmy] Okay, Michael. 607 00:42:28,533 --> 00:42:29,566 - All right. 608 00:42:31,400 --> 00:42:35,066 (upbeat music continues) 609 00:42:35,133 --> 00:42:36,666 Let me blow on it. 610 00:42:39,366 --> 00:42:44,400 Don't worry about (indistinct) 611 00:42:47,933 --> 00:42:51,433 (upbeat music continues) 612 00:42:52,733 --> 00:42:53,500 Slow down. 613 00:42:59,366 --> 00:43:02,333 (objects clattering) 614 00:43:09,566 --> 00:43:11,533 (upbeat music) 615 00:43:36,900 --> 00:43:39,333 - We gotta go. - Go fast! 616 00:43:39,400 --> 00:43:40,866 We're good now. We're good. 617 00:43:40,933 --> 00:43:42,466 - Keep it on center as best you can. 618 00:43:42,533 --> 00:43:44,066 Keep it coming. 619 00:43:44,133 --> 00:43:46,133 - [Dale] It was about 10 years ago that I went to the island 620 00:43:46,200 --> 00:43:48,866 of Nii-jima, an overnight boat ride 621 00:43:48,933 --> 00:43:51,233 off of Tokyo in the Tokyo Bay. 622 00:43:51,300 --> 00:43:54,033 And while I was there, I was reminded 623 00:43:54,100 --> 00:43:57,533 of the Japanese fishing floats, which always intrigued me 624 00:43:57,600 --> 00:44:00,000 that I used to collect on the beach when I was a kid 625 00:44:00,066 --> 00:44:02,933 in Washington on the Pacific Ocean. 626 00:44:03,000 --> 00:44:06,866 So not long after I was in Nii-jima, I started a series 627 00:44:06,933 --> 00:44:11,966 of round balls and the idea was to make them big 628 00:44:13,133 --> 00:44:15,800 and to use a lot of color in different ways. 629 00:44:15,866 --> 00:44:18,000 And so we started making these floats 630 00:44:19,300 --> 00:44:21,966 that eventually got up to 40 inches in diameter, 631 00:44:22,033 --> 00:44:26,800 which is by far the largest piece of glass that we make. 632 00:44:26,866 --> 00:44:30,233 It's just, it's a huge piece of glass. 633 00:44:30,300 --> 00:44:32,933 One of the most complicated things we've ever made. 634 00:44:33,000 --> 00:44:35,333 And it takes a big team, very focused 635 00:44:36,400 --> 00:44:37,866 with a great glass blower. 636 00:44:37,933 --> 00:44:39,500 In this case it's Rich Royal. 637 00:44:41,200 --> 00:44:42,633 - [Rich] Blow, please. 638 00:44:42,700 --> 00:44:45,033 - [Dale] The floats were, I don't know 639 00:44:45,100 --> 00:44:46,366 what it was with the floats. 640 00:44:46,433 --> 00:44:47,900 I mean there was this connection 641 00:44:47,966 --> 00:44:49,800 to the Japanese fishing float, 642 00:44:49,866 --> 00:44:52,466 but there was also just the simplicity 643 00:44:52,533 --> 00:44:56,033 of this beautiful sphere. 644 00:44:56,100 --> 00:44:57,466 One of the most natural forms 645 00:44:57,533 --> 00:44:59,633 that you can make in glass is a sphere. 646 00:44:59,700 --> 00:45:03,066 So, you know, it's a simple thing to make. 647 00:45:03,133 --> 00:45:04,300 If it weren't big. 648 00:45:04,366 --> 00:45:05,533 You know when it gets big, 649 00:45:05,600 --> 00:45:07,633 it gets really complicated to make. 650 00:45:08,533 --> 00:45:09,400 - Drooling. 651 00:45:10,700 --> 00:45:13,433 You don't care if we put foil on or not. Do You? 652 00:45:13,500 --> 00:45:14,700 - [Dale] If it's on the outside. 653 00:45:14,766 --> 00:45:15,700 - [Rich] It'll be on the outside. 654 00:45:15,766 --> 00:45:16,933 - Then don't put silver. 655 00:45:17,000 --> 00:45:18,133 - [Rich] We're not using silver at all. 656 00:45:18,200 --> 00:45:19,900 It's all gold. - Yeah, gold is good. 657 00:45:19,966 --> 00:45:20,900 - [Rich] All gold. 658 00:45:22,266 --> 00:45:26,200 (audience exclaiming) 659 00:45:26,266 --> 00:45:29,633 - [Dale] (laughs) Whoo! 660 00:45:32,533 --> 00:45:34,366 - Take it Jimmy. - Got it. 661 00:45:34,433 --> 00:45:37,533 - [Group] Oh! 662 00:45:37,600 --> 00:45:40,633 (blowtorch hissing) 663 00:45:42,833 --> 00:45:43,700 - [Rich] Stop. 664 00:45:45,200 --> 00:45:48,766 - [Dale] It fell off a blow pipe. He might save it. 665 00:45:48,833 --> 00:45:50,166 I don't know if it touched down. 666 00:45:50,233 --> 00:45:51,833 If it touched down, he can't. 667 00:45:53,933 --> 00:45:55,133 - Stay on it. 668 00:45:55,200 --> 00:45:56,300 - [Dale] I don't think it did touch down. 669 00:45:56,366 --> 00:45:57,733 He probably would've thrown it out. 670 00:45:58,966 --> 00:46:01,066 - [Rich] Okay, get on it now, Michael. 671 00:46:01,133 --> 00:46:02,766 (blowtorch hissing) 672 00:46:02,833 --> 00:46:04,133 That other torch is actually- 673 00:46:04,200 --> 00:46:06,833 - [Dale] I don't really like making these things. 674 00:46:06,900 --> 00:46:09,600 They're a little dangerous all the way around. 675 00:46:09,666 --> 00:46:11,100 - I don't know if this is gonna work. 676 00:46:11,166 --> 00:46:13,500 It gives us something to do while we're waiting, huh? 677 00:46:15,333 --> 00:46:16,100 That looks good. 678 00:46:16,166 --> 00:46:17,366 I think we're done. 679 00:46:17,433 --> 00:46:20,700 - [Announcer] Try and roll it over here. 680 00:46:20,766 --> 00:46:21,666 - Gotta be gentle. 681 00:46:23,033 --> 00:46:26,766 - [Announcer] Nice save. (audience applauding) 682 00:46:26,833 --> 00:46:31,866 Hot shot team. 683 00:46:32,700 --> 00:46:35,866 (people speak indistinctly) 684 00:46:38,300 --> 00:46:39,433 - [Rich] Got it, Dave? 685 00:46:40,500 --> 00:46:41,733 Get down low. - Right. 686 00:46:41,800 --> 00:46:42,733 - Nice and gentle guys. - Bring that shoulder 687 00:46:42,833 --> 00:46:43,800 back there. 688 00:46:46,566 --> 00:46:47,433 Oh, oh! 689 00:46:52,300 --> 00:46:54,800 (audience applauding) 690 00:46:54,866 --> 00:46:57,500 Okay, keep it turning. Keep it turning. 691 00:46:57,566 --> 00:46:58,666 Keep it turning. One direction. 692 00:46:58,733 --> 00:47:00,200 Keep the compressed air on it. Go! 693 00:47:00,266 --> 00:47:01,366 - Hard, hard. - Blowing. 694 00:47:01,433 --> 00:47:03,500 - Go, go, go. - Blowing. Blowing. 695 00:47:04,700 --> 00:47:05,833 - [Team Member] That's as hard as it'll go. 696 00:47:05,900 --> 00:47:07,233 - That's good. Keep. 697 00:47:07,300 --> 00:47:08,066 - That's good. - Stop. 698 00:47:08,133 --> 00:47:09,866 - No, don't stop. 699 00:47:09,933 --> 00:47:10,766 - [Team Member] Keep blowing! 700 00:47:10,833 --> 00:47:12,400 - I like that shape, Rich. 701 00:47:12,466 --> 00:47:13,600 - [Rich] I do too. 702 00:47:13,666 --> 00:47:15,133 Yeah, let's go. 703 00:47:15,200 --> 00:47:16,200 - Okay, go. 704 00:47:17,733 --> 00:47:18,666 - [Dale] I can't believe it. 705 00:47:18,733 --> 00:47:20,500 Didn't have a touchdown, did it? 706 00:47:20,566 --> 00:47:22,033 - Oh yeah, it had a hole. 707 00:47:22,100 --> 00:47:26,000 That's why (indistinct) started falling all over the place. 708 00:47:26,066 --> 00:47:29,366 (audience applauding) 709 00:47:32,533 --> 00:47:34,766 - It had a touchdown? 710 00:47:34,833 --> 00:47:36,900 - Yeah, it kind of folded back on itself. 711 00:47:38,600 --> 00:47:39,800 - They did it. 712 00:47:39,866 --> 00:47:40,633 - Best save ever. 713 00:47:40,700 --> 00:47:42,066 - Best save ever. 714 00:47:42,133 --> 00:47:44,066 - Biggest save ever, anyway. 715 00:47:44,133 --> 00:47:45,633 You don't have to be a very good glassblower 716 00:47:45,700 --> 00:47:47,500 when you can fix stuff. 717 00:47:47,566 --> 00:47:49,266 - I got another one. 718 00:47:50,133 --> 00:47:53,033 (upbeat music) 719 00:47:53,100 --> 00:47:54,400 - Okay, Robert. 720 00:48:27,500 --> 00:48:28,900 - Jimmy Mongrain. 721 00:48:28,966 --> 00:48:30,300 (audience cheering) 722 00:48:30,366 --> 00:48:31,633 Jimmy Mongrain. 723 00:48:31,700 --> 00:48:34,900 (people cheer) 724 00:48:34,966 --> 00:48:37,000 - [Rich] I think we just go right to the bat. 725 00:48:40,733 --> 00:48:43,200 After we heat it. 726 00:48:43,266 --> 00:48:45,966 - [Dale] Robbie just said, when Dave Walters is hobbling, 727 00:48:46,033 --> 00:48:47,566 you know, it's heavy. 728 00:48:59,266 --> 00:49:00,000 - [Dale] I always said I wasn't gonna 729 00:49:00,066 --> 00:49:01,666 make any more of these. 730 00:49:01,733 --> 00:49:03,066 They scare me. 731 00:49:03,133 --> 00:49:05,300 But what we do now, we line 'em with silver 732 00:49:06,700 --> 00:49:09,900 and then we line 'em with foam so that if they break, 733 00:49:09,966 --> 00:49:11,733 nothing much happens, 734 00:49:11,800 --> 00:49:13,033 but they could break while you're making. 735 00:49:13,100 --> 00:49:14,000 - [Team Member] It's too big for the oven. 736 00:49:14,066 --> 00:49:15,466 - [Dale] Won't go in the oven? 737 00:49:17,766 --> 00:49:20,966 (audience applauding) 738 00:49:23,133 --> 00:49:24,000 (glass shattering) 739 00:49:24,066 --> 00:49:27,100 (audience groaning) 740 00:49:30,000 --> 00:49:30,866 - Stop. 741 00:49:35,033 --> 00:49:38,566 (upbeat music continues) 742 00:49:41,500 --> 00:49:42,666 - That's a great piece. 743 00:49:44,166 --> 00:49:48,000 (audience applauding) 744 00:50:01,866 --> 00:50:03,133 (people chattering) 745 00:50:03,200 --> 00:50:05,866 (pencil scratching) 746 00:50:05,933 --> 00:50:09,033 (blowtorch hissing) 747 00:50:09,100 --> 00:50:10,200 - [Team Member] The outside of this? 748 00:50:10,266 --> 00:50:11,333 - On the outside. 749 00:50:11,400 --> 00:50:12,200 Should go around the cardboard tube. 750 00:50:12,266 --> 00:50:13,166 Wrap those ones. 751 00:50:14,000 --> 00:50:15,100 - Sure. 752 00:50:15,166 --> 00:50:16,566 - [Team Member] Still the same colors? 753 00:51:09,766 --> 00:51:10,900 - Blow! Blow! 754 00:51:11,733 --> 00:51:12,666 Blow! Blow! 755 00:51:25,400 --> 00:51:27,700 (audience applauding) 756 00:51:27,766 --> 00:51:32,033 - Yeah, figure out what to work it. Let's make one. 757 00:52:04,000 --> 00:52:06,933 - [Dale] Joey DeCamp, who heads up my glass shop, 758 00:52:07,000 --> 00:52:11,500 I think first came to work with the team in 1988. 759 00:52:12,800 --> 00:52:17,300 And he's really fantastic at making Fiori parts. 760 00:52:19,166 --> 00:52:21,566 People, you know, have asked what inspired me 761 00:52:21,633 --> 00:52:26,666 to do the Fiori, it wasn't so much trying to 762 00:52:27,833 --> 00:52:31,000 replicate plants as it was a way to work 763 00:52:31,066 --> 00:52:33,266 with all the techniques that we've learned 764 00:52:33,333 --> 00:52:35,633 for the last 35 or 40 years. 765 00:52:35,700 --> 00:52:38,366 So as you look at the Fiori, you'll see 766 00:52:38,433 --> 00:52:41,233 all the other series of my work in there somewhere. 767 00:52:41,300 --> 00:52:42,266 I think. 768 00:52:42,366 --> 00:52:46,366 - [Joey] Swing it, swing it. (blowtorch hissing) 769 00:52:46,666 --> 00:52:48,266 - [Dale] You know, there are many different styles 770 00:52:48,333 --> 00:52:53,400 to the Fiori and Joey does a great job at making those. 771 00:53:36,633 --> 00:53:39,233 - I just thought, you know, it'd look really cool 772 00:53:39,300 --> 00:53:41,500 to have a chandelier with those paddles coming out. 773 00:53:41,566 --> 00:53:43,100 - Yeah, yeah, yeah. 774 00:53:43,166 --> 00:53:45,766 (upbeat music) 775 00:53:53,600 --> 00:53:57,333 (upbeat music continues) 776 00:53:57,400 --> 00:53:59,966 - [Joey] No air. No air, no air. 777 00:54:37,066 --> 00:54:39,300 (audience applauding) 778 00:54:39,366 --> 00:54:41,500 - To participate in something like that was, 779 00:54:41,566 --> 00:54:43,233 I'm not gonna say it was a once in a lifetime thing. 780 00:54:43,300 --> 00:54:44,400 'cause I'd like to think something like 781 00:54:44,466 --> 00:54:46,733 that might happen again someday. 782 00:54:46,800 --> 00:54:49,400 (upbeat music) 783 00:55:11,233 --> 00:55:14,266 (upbeat rock music) 784 00:55:22,533 --> 00:55:25,966 (upbeat music continues) 785 00:56:24,533 --> 00:56:26,766 (upbeat music)