About the service
I run a hot-shop glassblowing service dedicated to custom holiday ornaments, and I take on private commissions for collectors, corporate gifting teams, boutique retailers, and anyone who wants a bauble that does not exist anywhere off a shelf. Every order starts with a short design consultation: you tell me the occasion, the palette you are building toward (jewel tones, frosted pastels, metallic swirls, a specific brand or house color), and roughly how many pieces you need, and I sketch two or three silhouette options before any glass gets gathered.
The work itself happens at the furnace. I gather molten glass on a blowpipe, layer in color using frit, powder, and cased overlays, then shape each sphere, teardrop, or finial freehand with jacks, paddles, and wet newspaper pads so no two pieces are perfectly identical — that hand-made variation is the whole point of commissioning rather than buying mass-produced stock. Complex requests, like a two-tone gradient with a hand-trailed swirl or an internal bubble pattern, get a test piece first so you can approve the effect before I commit to the full run.
Set-sizing is something I plan for from the first sketch, not an afterthought: if you need a dozen ornaments that read as a coordinated family on a tree rather than a random pile, I map out a shared color story with controlled size variation between the hero pieces and the fillers. Every ornament goes through a full anneal in a controlled-cooldown kiln over several hours, which relieves internal stress in the glass so the piece survives years of seasonal handling instead of cracking from a stray temperature shock.
My portfolio covers finished sets by palette and by client type, so you can see how a corporate gift run reads differently from a collector's one-off commission. Shipping is built around fragility from the start: each piece is nested in a fitted foam cavity inside a double-wall box, with the cap or hook secured separately so nothing rattles loose in transit. Typical turnaround runs one to three weeks depending on set size and complexity, and I keep you updated with in-progress photos at the furnace so you are never guessing what is happening to your order.
The work itself happens at the furnace. I gather molten glass on a blowpipe, layer in color using frit, powder, and cased overlays, then shape each sphere, teardrop, or finial freehand with jacks, paddles, and wet newspaper pads so no two pieces are perfectly identical — that hand-made variation is the whole point of commissioning rather than buying mass-produced stock. Complex requests, like a two-tone gradient with a hand-trailed swirl or an internal bubble pattern, get a test piece first so you can approve the effect before I commit to the full run.
Set-sizing is something I plan for from the first sketch, not an afterthought: if you need a dozen ornaments that read as a coordinated family on a tree rather than a random pile, I map out a shared color story with controlled size variation between the hero pieces and the fillers. Every ornament goes through a full anneal in a controlled-cooldown kiln over several hours, which relieves internal stress in the glass so the piece survives years of seasonal handling instead of cracking from a stray temperature shock.
My portfolio covers finished sets by palette and by client type, so you can see how a corporate gift run reads differently from a collector's one-off commission. Shipping is built around fragility from the start: each piece is nested in a fitted foam cavity inside a double-wall box, with the cap or hook secured separately so nothing rattles loose in transit. Typical turnaround runs one to three weeks depending on set size and complexity, and I keep you updated with in-progress photos at the furnace so you are never guessing what is happening to your order.
