Like most lampworkers, I was taught to work in a seated position, hunched over, elbows on the bench, wrists cocked, flame and work confined to the area directly in front of me. I never thought about any movement outside of that single cubic foot of work space because everything I made was small and there was no need for more mobility. However, as my skills increased, my work became larger and more complex and I began to work more and more with tubing. I began to notice a building of tension and fatigue, cramping and pinched nerves between my shoulder blades. My back and neck ached. My eyes and head throbbed. My productivity, as well as the quality of my work, began to fall.
Then, I had an opportunity to watch a furnace glassblower at work. I was absolutely entranced, not just by the roaring furnaces and glowing bubble, but also by the beautiful, lyrical movement of the glass blower as he heated his gather at the glory hole, turned it, swung it and blew it. He then strode smoothly to the bench and, with a soulful, rhythmic rocking motion, blocked and jacked the piece into shape. His movements were subconscious, more a result of his own concentration and the rhythms dictated by the molten material than any kind of rational intent. It was like a slow, meditative dance. I envied the obvious ease and grace with which he worked and resolved to try to emulate him.
When I returned to my bench, I kicked my stool away and tried to work standing up for the first time. Of course, I felt uncomfortable at first, having lost my precious bracing (elbows on the bench), but I also noticed immediately that the symptoms of tension and fatigue that had been bothering me so much, were greatly reduced. With time, I adjusted my style of working to standing so that I did not miss the bracing and needed no props to steady my work. I discovered that a lampworker can be far more mobile than the diminutive nature of his work might indicate. I developed techniques that could not be used in a seated position and learned to use the superior leverage that a standing posture gave me. In short, I learned to dance and discovered, to my amazement, that the hot glass dance is truly common to both furnace glassblower and lampworker.
Most lampworkers will need to make some adjustments to switch to standing. I recommend a bench height of 36" - 40" (mine is 39"). At this height, the lampworker may either stand, or use a bar stool if he wishes to sit. I also suggest moving your annealing oven away from your work area since you will be able to walk to it easily. Hang as many tools as possible from the front of your bench and make vertical block stands for glass rods. You want to clear as much bench area as possible for your marvering boards and torches. Use stands for burners and torches so that they can be moved around, or picked up, and used as hand torches to perform what would otherwise be awkward heating procedures. The idea is to maximize mobility and to design your work area to take full advantage of it.
Some of your working habits should also change. Standing gives you superior leverage. You should learn to hold and heat large rods with two hands together instead of just one. This skill not only reduces fatigue, but also leads directly to two-handed marvering, exactly like furnace glassblowers do. When working with tubing, you will find that the superior mobility standing gives you enables you to use gravity, marvering and other manipulative techniques to a much greater advantage. Even when working with a small piece, or doing precise detail or tooling, the relaxed, spine-straight posture that comes with standing makes the procedure easier because there is less tension and therefore less fatigue.
If you don't already, listen to your favorite music while you work. Every aspect of lampworking is rhythmic in nature. Good music helps you keep time and keeps your spirits up. I prefer alternative rock, or jazz, to work by, but I don't think it matters much what your preference is. Just crank it up and boogie!
Obviously, wear and tear will be increased on one part of your body - your feet. I recommend comfortable, well fitting shoes with arch supports. I wear Rainbow sandals with arch supports and go through about three pairs a year. Fatigue in your feet is also reduced if you keep moving. Shuffle your feet, walk around, shake a leg! Your physical condition is also a factor here. If you are overweight, the strain on not just your feet, but your legs, back, heart and lungs will also be increased.
Contrary to what many people believe, lampworking need not be a sedentary activity. Standing may not be for everyone, but I feel certain that the advantages gained in leverage and mobility make it worth at least a try. The rhythmic nature of many lampworking techniques cry out for movement, so choose a posture that does not restrict you. Get up out of your chair and dance!