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Kaleidoscope Review August 1999 1

Kaleidoscope Kaleidoscope ReviewReview

Volume 1 No. 2: August, 1999 $6.00

Party for the Eyes Artist Gallery Will & Pat Geho, Willuminations

Generating Kaleidoscope Images (Part I)

In the Workshop Make a kaleidoscope using a potato chip can. Learn about

the object chamber.

What’s in Store? Off the Wall Craft Gallery and Owner

Karen Deets are Highlighted in this Issue.

Part I

Using Computers to Generate Kaleidoscopic Images.

This Issue Features Screensavers.

2 Kaleidoscope Review August 1999

Dan RobinsonDan RobinsonDan Robinson andandand

Vince CianfichiVince CianfichiVince Cianfichi would like to saywould like to saywould like to say

ThanksThanksThanks to all the artiststo all the artiststo all the artists who allow us towho allow us towho allow us to

enjoy ourenjoy ourenjoy our

kaleidoscopekaleidoscopekaleidoscope passion.passion.passion.


KaleidoscopeKaleidoscopeKaleidoscope ReviewReviewReview

Volume 1 No. 2 August 1999

The Magazine Covering the World of Kaleidoscopes

FEATURES

UPCOMING

In the Workshop Our first kaleidoscope using a potato chip can.

What’s in Store? Off-the-Wall Craft Gallery is featured. Karen Deets shares her starting experi-ences.

Generating Kaleido-scope Images (Part I) Computers and software used to create kaleido-scopic images. Part 1 deals with screensavers. Brett Bensley, Editor

From the Editor’s Desk What makes a good ka-leidoscope. Brett Bensley, Editor

Letters to the Editor Questions and com-ments from readers, as well as answers.

Artist Gallery Two brothers team up to make unique kaleido-scopes using various hardwoods.

Generating Kaleidoscope Images (Part II) In the second part of this arti-cle, the author will cover soft-ware that manipulates images to create static kaleidoscopic images.

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This issue’s cover is an image from a kaleidoscope created by the editor, Brett Bensley. The kaleidoscope is a one-of-a-kind just designed for photographic pur-poses. Brett is also an international kaleidoscope artist as well as a part-time writer and editor of this magazine. Submissions for cover images and ideas are welcome and appreciated. We also appreciate submissions for the centerfold of each issue.

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COLUMNS


From theFrom theFrom the Editor’s DeskEditor’s DeskEditor’s Desk

W hat makes one kaleidoscope a great? That question has been asked a number of times. Even in this magazine we frequently ask our featured artists or stores that question.

The answer is always different at the start. Some will say a two mirror system. Some will oppose that with a tapered three mirror sys-tem. Some will just say a good image with clear optics. That will also be opposed with an interesting casing. Some say wood scopes are the best, while others will defend glass kaleidoscopes. In the end it always gets to the same answer: what the person buying or enjoying likes best. There are so many different kaleidoscope designs, using so many different materials, with many different mirror systems and optics that the great kaleidoscope will vary.

There are many great kaleidoscopes out there. Even though some artists and collectors may not give a kaleidoscope a second, or even first, look, doesn’t mean that someone won’t find that kaleidoscope a work of art or treasure.

I personally have two examples. One of my very early kaleido-scopes was an experimental piece using some rather ugly glass in my opinion. But just as soon as it was in the store, it was sold. It was one of my fastest selling kaleidoscopes ever. I was told by the store owner that the “person fell in love with it.”

Another example was an accident. I failed to seal a kaleidoscope correctly and some of the flux used to solder the kaleidoscope seeped in and removed part of the mirror. Definitely a learning experience.

Having it on a rack, not knowing of it’s condition, someone grabbed it and said, “I’ve got to have this! I don’t know how you did this trellis work in the image, but I love it!” I then took a look. I couldn’t sell such a kaleidoscope and explained why, stating it was flawed. I apologized for even displaying such a scope.

The lady buying the kaleidoscope said she wanted it anyway, and that I have to sell it to her. In surprise, I offered her a discount since it was “defective” in my perspective. She wouldn’t hear of such a thing and proceeded to offer me more than the price. Of course I sold it to her for the regular retail price.

To make my story short, it is not a good idea to make decisions for other people. What one person loves, another may hate. One person may love one artist’s work while hating another. It is good to keep that in mind when it comes to kaleidoscopes. As summed up by Will Geho in the article on Willuminations, “beauty is indeed in the eye of the be-holder. Is a $3.00 cardboard kaleidoscope any less wondrous to the mind of a child than a $3,000.00 museum quality work to the collector?”

The answer has to be a resounding, NO!

Brett Bensley Editor, Kaleidoscope Review

Kaleidoscope Review

Managing Editor: Brett Bensley,

[email protected]

Editorial Assistant: Kelley Bensley

Feature Writers:

Karen Deets

Proofreader: Peter Johnston

Copy Editors: Brett Bensley, Peter Johnston

Graphic Design and Lay-

out: Hui Sing

Cover:

Brett Bensley Kaleidoscope Review is published bi-monthly by Bensley Enterprises, 1116 Madison Ave., Charleston, IL 61920. Phone (217) 348-0855. Cover price is $6.00 US per issue. Subscription rate is $34.95 US per year in the United States. Please send address changes to Bensley Enterprises. Printed in U.S.A. Use of Material Published in Kaleidoscope Review In order to protect everyone involved we have established the following guidelines for reprinting. The author may use articles immediately if he/she includes the phrase “reprinted with permission of Kaleidoscope Review/Bensley Enterprises.” Any-one other than the author should contact Bensley Enter-prises concerning reuse of the material.

This issue of Kaleidoscope Review is in memory of Doug VanDamme. Doug will not be forgotten by the many collec-

tors and artists his life has touched.


What is the liquid used in kalei-doscopes? From M.C. of Wisconsin

That is both an easy and tough question. From my experi-ence and discussions with other kaleidoscope artists, most liquid filled object chambers contain distilled water, glycerin, or min-eral oil. I have used distilled wa-ter and glycerin, and a mixture of both. I have heard, but have not tested, that mineral oil can de-compose some adhesives used to seal the container. If any other artist would like to respond, I will be glad to include it in a future issue. Where can I get large ball lenses for a kaleidoscope I am making? From S. James, NJ

I have yet to find a good source for these myself. I get most of my lenses from Edmund Scientific Company, Inc., 101 East Gloucester Pike, Barrington, NJ/USA 08007-1380, Phone: (800) 728-6999. There are other sources, and each kaleidoscope artist has their own preferences. Again, if any other artist knows of a source they are willing to share with us, please do so. Help me settle a wager with my wife. Those kaleidoscope pic-tures by Gerald Bonsack in your first issue, we can figure all of them out except for the last one, at the bottom of the

page. I say it is a geyser, my wife claims it is a smoky moun-taintop. Who is right? I have a dinner and movie in the pot. From Bill Concrane, Ohio

Bill, you win the bet. Gerald informs me that the image is of the famous geyser, "Old Faith-ful." We have a complete listing of the images for those who want to write in for them. We left them untitled so people could guess. Now everyone reading this issue knows at least one of them. When is the magazine going full color? From W. S. W., California

We would like to go color on every page as soon as possible. To do so requires the financial support of the advertisers and readers. With your help we will be printing our first all color issue soon. Is it easy to make a kaleido-scope? Jimmy K. Smathers, OH Jimmy,

Kaleidoscope making is sometimes easy and sometimes very difficult and complicated. There are wonderful kits that are available that with a little glue and patience make wonderful im-ages.

The kaleidoscopes that are available in most of the stores and from most of the artists men-tioned in this magazine are works of art, and as such are frequently time consuming and complicated.

Experiencing kaleidoscope making will help all understand the effort of the artists to create their masterpieces.

Letters toLetters toLetters to the editorthe editorthe editor Editor’s introduction: We have been getting a lot of correspondence since release of our first issue. A number of questions get included, so we are adding this section to the magazine to answer them. Please send in questions concern-ing the magazine or kaleidoscopes in general.


T he images created by kaleidoscopes have fascinated many since the device was first

created. In the last 20 years, ka-leidoscopes have accentuated the image by using technologically advanced mirrors. Not to be ig-nored are the many talented kalei-doscope artists who are innovative in their use of the mirrors to create special images such as spheres, cubes, dodecahedrons, octahe-drons, orbs, and so many more.

With advancements in other technologies, the images of kalei-doscopes were not left out. Such is the case with computer and video technologies.

A number of readers may re-member some of the advertise-ments for beverages using kalei-doscope imagery. With the new graphic user interfaces, screen savers are very popular. A num-ber of these have implemented the kaleidoscope image as their sub-ject. The computer video technol-ogy can create images that repro-duce the visions seen inside an actual kaleidoscope. To introduce you to computer generated kalei-doscope images, we will take a short tour of some of the software and applications used by the com-puter "kaleidoscope" artists.

Deep Sea Software produces a Kaleidoscope screen saver for Windows 95/98/NT4 and Macin-tosh PowerPC. Dream Scope TM

V2.0 is available for $14.95 on a CDROM or a 30-day trial version can be downloaded for free from their web site at http://www.deepseainc.com/dreamscope/. Using a method similar to the ma-jority of computer generated ka-leidoscope programs; the image is composed of "strings" of color.

Another kaleidoscope screen-saver is located at http://webclub.

solutions.fi/~harriv/download.html. Kal-True. Kal-True is a freeware program by Harry Gensler. Freeware, for those un-familiar with the computer soft-ware terminology, means that the program is free to use and free to copy. The author may or may not maintain copyright privileges. Again, it generates the image us-ing colored "strings" and shapes. It generates an image with four quadrants, equivalent to using two mirrors at 90 degrees between them.

Syntrillium publishes Kalei-doscope 95, another Windows screen saver. Again, using "strings" and shapes Kaleidoscope 95 creates it image. Syntrillium adds a unique feature by making the image respond to music play-ing in the computer's CD player or to any sound playing through the sound card. Kaleidoscope 95 is "shareware," meaning you can get

(Continued on page 16)

Healing Arts Kaleido-scopes combines the healing properties of mandalas with color therapy to produce custom kaleidoscopes for your personal needs. Stressed out? Need some relaxation? Try our kaleidoscope with pink gems. Want to reduce a headache? Try our green kaleidoscope. Having bad dreams? We might have the ka-leidoscope for you. Need to increase the romance in your life? Contact your dealer about your particular problems, and let us make a kaleidoscope to suite your needs. Healing Arts Kaleido-scopes are distributed through: Bensley Enterprises 1116 Madison Ave. Charleston, IL 61920 (217) 348-0855

Clinical studies have not been completed to substantiate any claims for health benefits by using kaleidoscopes and color. These products are not intended to diagnose, treat, cure or prevent illness or disease.

The Magic of Mandalas and

Color

GeneratingGeneratingGenerating KaleidoscopeKaleidoscopeKaleidoscope Images (Part I)Images (Part I)Images (Part I)

DreamScope

Kaleidoscope 95


W illuminations is a kaleidoscope team of two brothers, Will and

Pat Geho. Living 60 miles apart in Florida, the team makes kaleido-scopes made of exotic hardwoods.

Will travels from New Smyma Beach, 60 miles south, to Rock-ledge, Florida to work with his brother five or six days a week. Their main workshop is in Will’s garage for the finishing and assem-bly of the kaleidoscopes. Future plans include a possible move to Titusville, halfway between broth-ers.

The brothers are new to kalei-doscope making, having been at it for about one year. Though they are new to kaleidoscopes, they have a history of woodworking experi-

ence. The Geho’s started woodwork-

ing in their teens, learning from their father. Their father, a tool and die maker, maintained his work-shop in the home in Maryland.

“He taught us the basics of woodworking; the rest we acquired through classes, reading, and ex-perimenting.”

Over the years, the brothers added to their skills and experience. They got together about a year ago to “make something beautiful and unique.” The decision was to make kaleidoscopes.

Will collected kaleidoscopes for his daughter, Anna, for seven years. While looking at kaleido-scopes in shops around central Florida, the brothers wanted to cre-

ate something unique, but with the quality of other’s works. Having worked in wood for so many years, and feeling comfortable with the material, the kaleidoscopes were designed to work with different woods. This offered a large num-ber of combinations as well as de-sign options.

The first kaleidoscope made was the American Beauty. Using a combination of three classic Ameri-can hardwoods: oak, walnut and maple. The object chamber con-


Artist GaArtist GaArtist Gallllerylerylery

W e would like to get you involved in this magazine. If you would like to submit an article to the magazine, we would be very interested. If you are a kaleidoscope artist, we would like to cover

you and your artwork in an issue. If you are a gallery owner or store owner selling kaleidoscopes, we would like to hear from you. Collectors are very important to the success of this magazine, and we would like to showcase your collections in future issues. We also need financial support. Advertising offsets the costs of printing and publishing this magazine. Advertising also informs our many readers about your store, gallery, or your artwork. Call 217-348-0855.

Editor’s introduction: Each issue of Kaleidoscope Review will present a kaleidoscope artist in the Artist Gallery. Articles may be written by the editor, a guest writer or by the artist(s). A general questionnaire and writing guide is available for anyone wanting to submit articles.

Will (left) and Pat Geho Of Willuminations

Willuminations’ Kaleidoscope family

American Beauty


In the WorIn the WorIn the Workkkshopshopshop

I n this issue, we plan to pro-vide details on making a kaleidoscope. Trying to keep it simple and use of

common materials make this en-joyable for all members of the family and a great project for schools.

You will have to obtain the materials:

Mirror—two inched wide by eight inches long.

Poster board or thin card-board— one and a half inches wide by eight inches long.

Can—a potato chip can that measures nine inches long by three inches in diameter. Keep the plastic lid.

Clear plastic—this will have to be sturdy enough to stay in place for the eye piece and for part of the object chamber.

A drill and one quarter inch drill bit, some silicone household glue, scissors to cut the plastic material, some packing peanuts or other packing material, finish the material list for this kaleidoscope project.

You will need to cut two cir-

You will also need to cut the cardboard or poster board and should be able to due so with the scissors. If you are careful, a util-ity knife or razor blade can be used.

After obtaining all your ma-terials and getting them cut as needed, we may start the project with the eye hole. Using the drill and a lot of caution, drill a 1/4 inch hole in the center of the metal bottom of the can. Please use caution as the can produce burrs and sharp edges. Sand or file these away if needed.

Turn the can upright and drop one of your plastic circles so it sits flat inside against the metal bottom of the can. This is some-times called the eyepiece, lens, or clear circle inside the eye hole (ok, just a little humor).

We will then assemble the heart of the kaleidoscope...the mirror system. Lay the mirror face down on a clean surface. Leave a gap about the thickness of the mirror. Apply tap, on the back, across the gap as in the pic-ture.

Fold the mirrors in a V with the mirror sides facing each other. The secret of the kaleidoscope is that the mirrors reflect the image from each other. This is why the mirrors are taped on the back side and folded to face each other.

We then place the cardboard or poster board at the open end of the V to make a triangular tube. Unlike the mirror system make in


cles of the clear plastic material to use for the eye piece and for the object chamber. The eye piece is optional, but recom-mended to reduce potential cut-ting of little fingers in the eye hole.

I have found some document binders are sturdy enough but can be cut using scissors. If you know someone handy with a drill press or other shop tools, they may cut the clear plastic circles. They need to be just slightly smaller than the three inch diame-ter of the can.

The mirrors also need to be cut. There are options of mirror such as plastic and glass. You might also find some metal mirror or the first surface mirror used in the more expensive kaleido-scopes. The first surface mirror gives the best image, but I would recommend you wait until you have completed your first kalei-doscope before trying such mir-ror.

If you visit a local glass shop in your area, either stained glass or construction glass shop, they may be able to cut the mirror for you. Ask around.

Kal & Kally by B.D. Copyright © 1999

Editor’s Introduction: This column is to introduce techniques to making kaleidoscopes. We will also fea-ture kaleidoscope plans, helpful hints, tricks, and any information useful to those who make their own kaleidoscopes. Tips, techniques and plans are welcome.

Apply the tape on the back side of the mirrors.


Brett Bensley has been producing kaleidoscopes for sale since 1993. He produced kaleidoscopes for friends and family prior to commercial release of his works of art. Each year, Brett creates new designs. Of the new designs created in 1999 are these wonderful pool balls. The set is known affectionately as “rack’em up.” The balls may be purchased as a set of 16, or individually. The production will be limited.

Kaleidoscopes by BensleyKaleidoscopes by Bensley

“Rack’em up”

Brett Bensley’s kaleidoscopes are available through Bensley Enterprises and through numerous deal-ers and galleries nationwide and internationally. For more information or the location of a dealer near you, contact us at:

Bensley Enterprises 1116 Madison Avenue Charleston, IL 61920

(217) 348-0855 Wholesale pricing is available for stores and galleries.

Introducing


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Adrift Brewster

DreamScopeDreamScopeDreamScope™™™

Kaleidoscope 95

Doodle Trinary


In the Workshop (Continued from page 8)

issue #1, we will close this sys-

tem and make it stable using the cardboard.

Tape the mirror assembly together.

Carefully slide the mirror

system assembly into the potato chip can.

Take some of the packing material and pack it between the mirrors and the can. Be careful not to get any inside the mirror assembly. Do not pack the mir-rors too tightly as they might break or bend. Bending can dis-tort the image your kaleidoscope

Looking for Books written by Sir David Brewster!

I am looking to expand my collection of books by Sir David Brewster. Currently hunting copies

of his Treatise on the Kaleidoscope and his Treatise on the Microscope.

No reprints please.

Please call with quotes and condition.

Also interested in buying, selling, or trading toy and

antique Kaleidoscopes.

No collection too small or large to consider.

Dan Robinson 281-376-9668 [email protected]

Add the cardboard at the open end of V.

Assembled mirror system.

Packing the mirrors.

Advertisement Removed due to threatened legal action (from the Brewster Society)


and by the end of the first year Deets had exclusive use of the space and the name. In 1979 Deets moved Off the Wall into a larger space.

During the 1980’s as differ-ent artisans came and went, Deets gradually added merchan-dise to complement her own - initially jewelry, art glass and additional leather. In 1986 Deets expanded again. By then Deets

had discovered more sources for American crafts, and was carry-ing wood and kaleidoscopes.

In 1989 Deets discontinued leather work to focus more in-tensely on stained glass and management of the gallery. Deets continues to work in stained glass and has experi-mented with making kaleido-scopes, but prefers to buy the work of those devoted entirely to developing kaleidoscope art.

Among Deets first kaleido-scope lines were C. Bennett Scopes and Van Cort. The gal-lery sold 100’s of little dragon-fly scopes in the late 80’s. Deets personal favorite was the all brass “Lucida” by Van Cort. It was simple, fine and classic. Deets states, “I was not initially accepting of the all stained glass scope, since I had yet to dis-cover any work with real sophis-tication.”

Deets fell in love at first sight with the work of mother and daughter Janice Chesnik and Cheryl Koch. Deets said, “I loved the clean brass tubes com-bined with innovative stained glass and agate wheels. I espe-cially love the ”Fiesta” with its intricate fused glass wheel de-tails. And the lines offer such a wonderful variety of inter-

OFF THE WALL CRAFT GALLERY

By K. Deets Kaleidoscopes are an impor-

tant part of Off the Wall, a unique craft gallery in central New Jersey. The shop also fea-tures jewelry, stained glass, blown glass, leather, and wood, with a special children’s section and garden section.

Off the Wall opened in January, 1977, at the newly re-stored 19th century grist mill in the heart of Allentown, NJ, a small rural village. The mill owner offered space exclusively to artists and craftspeople. Off the Wall started with the work of a hand weaver and both leather and stained glass made by present owner, Karen Deets. Deets had been teaching elemen-tary art at that time, but her first love was crafts. Deets left teach-ing for full time craft production

What’s in Store?What’s in Store?What’s in Store?

Editor’s Introduction: Our plans include covering a kaleidoscope dealer , store, or gallery. Kaleidoscopes do not have to be the only item carried, but prefer it to a major stock item. The article may be written by the editor, a guest writer, or some-one chose by the store or gallery management.

Old grist mill where Off the Wall is located.

Karen Deets admiring a kaleidoscope in her shop.


changeable wheels complete with well designed stands and bases to hold each wheel.” Deets even met Janice’s mom at a show. “It was so exciting to see the love of ka-leidoscopes passed down through several generations” says Deets.

Corki Weeks was Deets next exciting addition to the gal-lery. This line was the first Deets had seen of oil scopes, with their automatic slow graceful motion, and chamber cases with intricate colorful glass components. Once on the phone Corki complained to Deets that she was losing money due to her daughter’s help in put-ting together scopes with too gen-erous an amount of expensive glass parts! Deets finds that Corki Weeks continues too be very inno-vative in her new designs.

Parman Brothers was the first all wood exterior kaleidoscope in the shop. Deets states, “I still feel it is the best value in a wood scope, and it appeals to me be-cause of its carefree quality - no finger prints to clean - and the feel of the wood.” Deets has seen an improvement over the years with the interiors.

Steve Kittelson and Peggy Burnside of Woodland Glass proved to Deets that stained glass scopes could be taken to a higher level by incorporating bent glass in the tubes and matching the inte-rior colors with delicate bits of


" Wanting space in the “World Wide Web?”

" Do you have kaleidoscope information that you want to world to share?

" Want a site for a kaleidoscope related home page?

" Is your store on the Internet? Steuber Web Services offers a variety of Internet related services: Internet access, Email, News,

Web Site hosting and consulting. The theme common to all our services is extra support for individuals and businesses new to the Internet. Steuber Web Services is host to Kaleidoscope Heaven web pages. You can have your kaleidoscope site placed in the very popular kaleidoscopeheaven.org domain.

http://kaleidoscopeheaven.org

Steuber Web Services 45 E Papermill Rd

Springfield, Pa. 19064 Voice: (610) 543-2555 Fax: (610) 543-2799

Email: [email protected] http://www.steuber.com/

Other web services available.

Lauren Hurley Looking through an Ansley Kaleidoscope


Software company addresses and phone numbers (these may not be correct at time of printing):

Deep Sea Software PO Box 929 Orem, Utah 84059 United States phone: (801) 426-5686 Harry Gensler Philosophy Department University of Scranton Scranton, PA 18510 USA e-mail: [email protected] http://academic.uofs.edu/faculty/genslerh1 Syntrillium Software Corporation P.O. Box 62255 Phoenix, AZ 85082-2255 USA Phone: 1-602-941-4327 ShareIt! Inc. PO Box 844 Greensburg, PA 15601-0844 U.S.A. Phone (orders only): 1-800-903-4152 Seraline P/L PO Box 282 Ryde NSW 2112 Australia. Bart L. Cunningham 141 Grandview Ave. Conneaut, OH 44030 N. Kelly 613 S. Aiken Pittsburgh, PA 15232

Generating Kaleidoscope Images (Continued from page 6)

and try the program for free, but if you plan on using it, you are obli-gated to register it...pay for it. Registration costs $25 for the full version or $15 if you do not use the audio-response feature.

Brewster, another screen saver, by Gerry Quinn , was named after Sir David Brewster the kaleidoscope's inventor. Us-ing string and shape imaging as well, Brewster is for Windows 95 and NT only. A shareware pro-gram available for download at http://bindweed.com/brewster/brewster.htm will cost $20 for registering with ShareIt! Inc. It does have an image of "items" that seems to rotate through the view field reminiscent of a real kaleidoscope.

Seraline has a number of screen savers that can generate kaleidoscope images. Their web page is at http://www.seraline.com/index.shtml. They have a 14-day evaluation copy that can be downloaded. To use after the fourteen days, you must purchase the software at $20.00 each. Some of the images are quite spectacular. Adrift seems to be the screen saver that produces the most kaleidoscope images, again

be copied to your computer and enjoyed. Many do not reach the level of image created by a real kaleidoscope. But there are many programs and methods of com-puter image generation that will approach, if not match, the image of a real kaleidoscope. More will be discussed in the next issue as this article continues.¯

using string designs. Doodle Screen Saver for

Windows 95, by Bart L. Cunning-ham, is another shareware pro-gram. The registration price is $5.00. Doodle is similar to the other programs in that it has sim-ple reflections. It differs in that it uses "blotches" of color instead of the standard lines. This is some-thing a little different for the viewer's taste.

Two screensavers downloaded from http://www.kenja.com/themes/scrs/ are again along the lines of the others, mostly using strings to generate the image. Kal, whose author and source is unknown, will use blocks of color on occasion. Ka-leid has a few more options such as the number of reflections, ei-ther 4 or 8, and a few more set-tings. Kal is free is far as I know. Kaleid is shareware and available from the site listed or from the author N. Kelly.

Trinary, from the same site above, generates a kaleidoscope like pattern. Its uniqueness comes from its way of generating the pattern. It first generates an im-age using string type of ribbon. As the image fills, it is then cop-ied on a smaller scale in the four quadrants of the screen. A new image is generated in the middle and the middle of the four quad-rants. The cycle is then repeated a number of times. Dave Griffiths created this program and might be reached at [email protected]. I recommend just downloading from the kenja site.

I am sure there are other screen saver programs waiting to

Brewster

Adrift

Doodle

Trinary


Artist Gallery—Willuminations (Continued from page 7)

tains faceted glass gems. Each brother has a separate

favorite kaleidoscope. Pat’s favor-ite is Zebras-on-the-Wall. This ka-leidoscope is made of zebrawood and walnut.

Will’s favorite kaleidoscope, to date, is the one named after his daughter, Anna: Anna’s Sunrise. Anna’s Sunrise features a blend of purpleheart, padauk and osage or-ange with an external object cham-ber.

The brother’s favor the works of other kaleidoscope artists using wood as the body materials. Pat admires the works of Henry Bergu-son, but can't isolate a single kalei-doscope as his most favorite. Will enjoys Stephen Gray's Parasol im-aged kaleidoscope

“I first saw this masterpiece in the home of Dr. Dale Buchbinder in Baltimore. The doctor's enthusi-asm for kaleidoscopes lit a fire in me which has never been, and hopefully will never be extin-guished.”

Of course their favorite mate-rial for making kaleidoscopes is wood. They really enjoy exotic hardwoods.

“Every wood has its own way of reacting to the saw blade, the

milling tools, and even the sand paper. They each have a signature fragrance, as well as unique dusts.”

The blending of the various colors and grains is the artistry in-volved in their kaleidoscopes. When the finish is applied and mir-rors and brass are fitted, the piece comes together into a completed kaleidoscope.

Will expresses a sentiment many kaleidoscope artists are in agreement with: “The joy is as much in the making as in the re-sults, in the journey as much as in the destination.”

Their small scopes might take from 3 to 4 hours for completion, being smaller and simpler in de-sign. The most challenging kalei-doscopes offered by the team are the triple-wood kaleidoscopes, re-quiring 7 1/2 to 8 hours each. Their high standards for quality, espe-cially in the double and triple wood scopes requires addi-tional effort.

“We are proud of the fit and the finish. If it doesn't fit - it isn't finished!”

The duo makes their kaleidoscopes using the triple mirror system, feeling it is a perfect fit for their scopes and style. Both enjoy the image given by the three mirror system over other mirror systems.

Pat’s most treas-ured experience of making kaleidoscopes is making the kalei-doscope for his mother. The padauk and curly maple ka-leidoscope contains gemstones cut by their father in the ob-ject chamber. Their father’s post-retirement hobby was cutting and faceting gemstones.

Will’s most treas-

Zebras-on-the-Wall

Anna’s Sunrise

ured experience was the creation of Anna’s Sunrise, for obvious rea-sons.

“For the first time, I was able to make my daughter a kaleido-scope, so much more personal than buying one. “

Anna is an avid kaleidoscope collector at twelve years old, boast-ing a collection of 26 kaleidoscopes and teleidoscopes. Anna’s Sunrise is her favorite.

Although kaleidoscope mak-ing would be a full time job for the duo if business increases, Pat works as a machinist in Melbourne, Flor-ida. Will works part-time in a hard-ware store.

When not working at their jobs and their love, kaleidoscope mak-ing, Pat fishes and does other woodworking. Will enjoys garden-ing, reading and discussion groups, in particular A Course in Miracles

(Continued on page 19) Pat Geho holding the finished product and the raw material.


the imagery and the craftsman-ship. It was a step up for price points, but it made me more aware of the enthusiasm of col-lectors and their needs, and freed me of my inhibitions about higher end scopes. So I boldly looked again for new designs from my favorite tried and true artists and sought out new ones.”

This year Off the Wall has introduced several new lines: Muddy Waters Woodworks, Henry Bergeson, and the Secret Garden, all with wood exteriors. Deets really likes Henry’s scope for the marble collector, with a stand that holds a lot of marbles and an interchangeable holder for marbles of all sizes at the end of the scope.

Deets is especially excited by the work of Sallie and Luc Durette of The Secret Garden, with pleasing designed wood exteriors and exceptional floral interior imagery. By chance on the phone with Sallie, Deets learned of a very unique addi-tional feature of “Shadowdance”. It has a bottom ring which when turned gradu-ally changes the background from night to day!

Concerning mirror systems, Deets has a preference for the 2

mirror system with a single focal point, reminiscent of snowflakes and she says, “It reminds me of the doodles I did as a child, building radial symmetrical de-signs - very controlled. The 3 mirror infinite images make me feel like I’m in a mirror room in a fun house and can’t find the exit. But maybe I don’t want to”.

Deets has sold many lines of scopes over the years and finds that buying a kaleidoscope is a very personal thing like buying any piece of art and sometimes works on a subconscious level. Deets observes a definite emo-tional and spiritual reaction in-volved in individual preferences and selection.

“A kaleidoscope to me is a sophisticated adult toy”, says Deets, “reminding us to keep the child within alive. It also offers a mantra like focus where con-centration on the beauty of the imagery blocks out all other thoughts and worries even if only for an instant. It doesn’t replace religion or counseling but it certainly has its value”.

Karen Deets resides in Allentown, NJ with her husband Bill and 12 year old daughter, Shasta Fowler.

What’s in Store—Off the Wall (Continued from page 15)

blown glass carefully balanced to give spectacular imagery in an oil chamber. This line is by far among Deets personal favor-ites.

Another sophisticated line Deets has carried in glass is the work of Margaret Neher of Crystal Images. Margaret’s exte-rior’s are made of finely detailed scenes created with sand blasted hand blown European flashed glass, making striking white contrast against a vivid color.

Ben Ansley of BT Ansley Kaleidoscopes amazed Deets with his innovative use of the light emitting quality of alabas-ter as the exterior material of his kaleidoscopes. Deets especially likes the simplicity of the egg scope, and the use of the magnet in another popular scope and thinks of Ben as a magician in kaleidoscope design, offering a simple elegant cool feeling exte-rior with a secret pleasing inte-rior.

Bob and Sue Rioux of the Sea Parrot proved to Deets the level of sophistication that could be achieved through the stained glass medium. Deets states, “I was blown away by the beauty and intricacy, the fine detailing,

(Left to Right) Sales associates Lauren Hurley and Rosemary Keller


Artist Gallery—Willuminations (Continued from page 17)

group. The team has a number of ka-

leidoscopes in the planning stage. A parlor scope is on the drawing board now, as well as a new hex-agonal wooden object chamber. Oil-filled and revolving object chambers are planned for future designs. One-of-a-kind pieces are also a possibility.

Will states “I firmly believe that what we focus on, we get. And my focus now is on making this a successful and joyous venture.”

“Kaleidoscopes are instru-ments of joy and wonder. They are healing. They are endless in vari-ety, both in form and view. How could one NOT enjoy creating such a thing?”

In response to the question of what makes a good kaleidoscope, Will stated, “The joy it brings.”

“An object is simply that: an object. Sure, its materials, form, finish and interior are important. But beauty is indeed in the eye of the beholder. Is a $3.00 cardboard kaleidoscope any less wondrous to the mind of a child than a $3,000.00 museum quality work to the collector?”

Since starting on this venture of making kaleidoscopes, Will and Pat, as well as family and friends, have been very excited about the possibilities opening to them in the industry. The brothers are looking forward to learning more about ka-leidoscope design and building as well as meeting other artists and collectors.

“Working 9 to 5 in a store or in a machine shop is work. Being in our kaleidoscope workshop 9 to 9 is a labor of love. And when we show a briefcase full of sparkly, shiny new kaleidoscopes to some-one for the first time, be they eight or eighty, the drawing in of the breath, the smile and the wide eyes tells it all. That is what it is all about.”

Willuminations can be reached at http://www.willuminations.com¯

In the Workshop (Continued from page 13)

produces. We want the packing to hold the mirrors in place.

Do not add the packing mate-rials past the end of the mirrors. Please avoid putting any packing materials inside the mirror sys-tem.

We place the next clear circle inside the can against the end of the mirrors. Glue the circle in place by running a bead of glue along the edge of the circle and against the inside of the can. Try

to avoid putting glue in the area of the mirrors. If any of the glue is in the area of the open end of the mirrors, it can be seen when viewing your finished kaleido-scope.

Take the kaleidoscope and set it aside to allow the glue to dry completely. The silicone glue recommended in this article does take some time to cure...a few hours to a day.

After the glue has dried, the fun part begins. Start locating junk around the house. Look in desk drawers for small items that can fit in the end of the can. Fill the end about 3/4 full. You do want to leave a little free space for the items to move around.

Take the plastic lid from the can and place it back on the open end of the can. This will hold the items in the “object chamber.” Look through the hole in the other end and be ready for an un-controllable “ahh,” or “wow” to leave your lips.

We will continue with con-struction tips and techniques as well as more kaleidoscope plans in future issues.¯

There’s no use crying over it.

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View the finest kaleidoscopes in the world.

Ade Ansley Balter

Bergeson Buff

Beall Chesnik Cosiani Coghill Culber

Cole Cook/The DeMattia

Durette Doak

Durden/Paul Falconer

Fulkerson Gray Hill

Healy Hanks

Jobe Kalish

Kent Karadimos

Krause Kittelson

Kandee Lee Losack Moser McWilliam Mindrup Marshall McEwen McNeil Miron Paretti Roberts Reynolds Rioux Rosenfeldt Roegnik Ritama Straub Smith Strino Sheppard Stora Tickle Tischler Tarr Van Cort Vadim Wilson And more…

Join us October 30 and 31 for an opening celebration of T HE KALEIDO-SCOPE SHOW

Which runs in conjunction with K ALEIDOSCOPES: SYMMETRY IN MOTION, at the Museum of Northern Arizona, in Flagstaff. Curated by Tess and

Representing fine art kaleidoscopes since 1 972. Catering to the discriminating collector.

S C H E R E R G A L L E R Y Modern and Contemporary Art of the Twentieth Century by

Hi llside * 671 Highway 179 * Sedona, Az 86336 * 800-957-2673 * 520-203-9000