Vitrigraph Institute
Molten glass streaming from a kiln pot down to the studio floor during a vitrigraph pull

Vitrigraph Institute


Pull Clean Vitrigraph Stringer, Cane and Murrine On Your Own Kiln

For kiln-glass artists who already fuse and own a basic kiln

Exact process window of 1500-1725°F, the ramp rate and equalising hold, pot hole sizes for consistent 2mm stringer, and the solo-studio safety setup - so you get fewer failed pulls, less devitrification and components nobody can order online.

The Vitrigraph Basics video course interface shown on laptop and tablet, with printed reference sheets and sample murrine in the foreground

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  • 6 modules · 78 lessons
  • ~70 minutes of instruction
  • Printable firing reference (PDF)
  • Built for the solo studio

The Problem


You already know how to fuse. That is not the problem.

You can run a full fuse. You know your COE. You have your schedules dialled in and a kiln that cost you real money.

And yet every piece you make is assembled from components that anyone can order online. The same stringer. The same frit. The same murrine, from the same three suppliers, at prices that make you wince every time you open the jar.

Meanwhile there is a box in the corner of your studio. Offcuts. Awkward triangles. The colours you bought and never loved. You cannot use it and you cannot bring yourself to throw it away.

That box is the raw material for the one technique that produces components nobody else can buy. It is called vitrigraph, and it turns your kiln into a small furnace that draws glass into a line you shape with your own hands.

A box of coloured glass offcuts beside bundled rods of stringer and cane ready for a vitrigraph pot

How It Works


Three steps to your first pull

    1

    Enroll

    One page, email only, no account to create. $37 one-time.

    2

    Watch

    Six modules and the printable firing reference. Start the same minute.

    3

    Pull

    Build the rig, run the schedule, pull your first line this weekend.

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Gloved hand shaping a glowing thread of molten glass with steel jacks as it leaves the kiln

Glass Writing


The word comes from the Latin for glass and the Greek for writing

The method as glass artists know it today was formalised in 1993 at Bullseye Glass in Portland, during work by Narcissus Quagliata and Rudi Gritsch. A pot of compatible glass sits over a hole in the kiln floor, the glass softens, and gravity does the rest.

What you are really doing is writing with a molten line. The kiln sets the viscosity. Your hand sets the speed. Everything about the finished component follows from those two things working together.

Pull fast and the line goes thin. Pull slow and it goes thick. That variation is your signature. It cannot be bought and it cannot be copied.

What You Can Make


Five forms from one pot

01

Stringer

Fine fluid lines, thick or thin, wavy or straight, with deliberate variation along the length.

02

Cane

Heavier rods, often carrying a pattern through the core.

03

Coils

Wound around a steel pipe as the stream falls.

04

Bird's nests

Thin fast streams left to drop freely and collect into tangles.

05

Murrine

Patterned cross sections, sliced from a rod you built colour by colour.

Rows of pulled glass stringer and twisted cane in blue, green and amber laid out on slate

Murrine is a four thousand year old technique, revived on Murano in the sixteenth century, and traditionally it requires a furnace, a glory hole and years of hot shop training. The vitrigraph gets you there from a kiln that plugs into a wall socket.

A small studio kiln mounted on a steel stand above a metal drop tray, with glass tools on a pegboard

The Real Objection


It looks dangerous, and I work alone.

Let us be plain about it. The glass exits the pot at around 1700 degrees Fahrenheit. The hole it comes out of is above your head. Sessions run for hours, not minutes. And you are usually the only person in the building.

Every course, video and forum thread teaches you the pull. Almost none of them teach the person working alone how to set up so that nothing goes wrong in the first place. This one does, and it does it before it teaches you anything else.

Inside the safety module

  • The four hazard categories and the countermeasure for each
  • Why you glove your two hands differently
  • Why didymium lenses and not sunglasses
  • The burn protocol you should know before you need it
  • A full cold rehearsal you run three times before firing

Not because the technique is reckless. Because you deserve to start it prepared instead of hopeful.

The Course


Vitrigraph Basics: Step by Step Guide

Six modules. Roughly seventy minutes of focused instruction, with no filler.

The Vitrigraph Basics course book, video lessons on laptop, slicing murrine on tablet, and printed firing reference sheets

Origins, vocabulary and the glass physics that governs everything. Viscosity as a dial you control. Why colour changes behaviour and which glass is most forgiving for your first session. Compatibility discipline that prevents cracks appearing weeks later.

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Specifics


This course gives you figures, not encouragement

Most free content on this technique tells you to experiment. That is fine advice if you have unlimited pots, glass and electricity. Inside, you get the actual numbers.

  • The process temperature window, 1500 to 1725 degrees Fahrenheit, and which colours flow at which point inside it
  • The ramp rate and the equalising hold, with the reason for each
  • Base board dimensions and hole diameter, and why the board hole is larger than the pot hole
  • Pot hole range and what each size produces
  • Mounting height, and how to set it for your own arm rather than copying a figure
  • The temperature adjustment step size, and the lag before it takes effect
  • The immediate brake when the flow runs away from you
Molten glass wound into a glowing coil around a steel pipe as it leaves the kiln

Every number in this course comes from published manufacturer documentation and established studio practice, assembled in one place and in the order you actually need them.

  • Teaching kiln-glass since 2009
  • Vitrigraph pulls logged across three kiln models
  • Method built on published manufacturer schedules
  • Studio practice, not theory
A glass artist in a black apron and glasses seated at his workbench with pulled cane, murrine discs and a lit torch in the background

This is for you if

  • You own a kiln and you already fuse with confidence
  • You are tired of work that looks like everyone else's
  • You have a box of scrap you cannot use and cannot discard
  • You want to make murrine without a hot shop
  • You work alone and want to be properly prepared before you start

This is not for you if

  • You have never fused glass and do not own a kiln
  • You want a shortcut. This technique rewards patience and punishes rushing
  • You want somebody else to guarantee your first pull will be beautiful. It will not be, and the course says so plainly
A fused glass panel of teal and amber ribbons with inlaid murrine discs, lit from behind

What changes

You stop ordering components and start making them.

The box of scrap becomes your palette.

Your work develops a line quality that is recognisably yours, because it came out of your hand at the moment the glass was moving.

And the next time somebody at a fair picks up your piece and asks where you bought that murrine, the answer is that you did not buy it.

Lifetime Access

Vitrigraph Basics: Step by Step Guide

  • All six video modules, 78 lessons
  • Firing schedules and temperature reference
  • Rig build specifications
  • Safety checklist and cold rehearsal protocol
  • Troubleshooting map
  • Session log template
  • Lifetime access, including future updates

$37

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The 30-day, no-questions guarantee

Watch the whole thing. Build the rig. Run a session. If it has not given you a technique you can repeat, tell us within 30 days and we refund you in full. You keep the notes.

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Questions


Before you buy

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Not ready to buy yet?

Get the free one-page firing-temperature cheat sheet: the process window, ramp rate and equalising hold, in the order you use them.

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The box of scrap is not going to use itself

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