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 on: January 18, 2020, 07:51:17 AM 
Started by DementedMagpie - Last post by Dietmar
and of course PPP = practice practice practice
I translate pPp a little different: practice, patience, practice.
The "patience" means not to practice without looking what you do.

If you want to become perfect yuo have to practice, but you have to practice PERFECTION.

 on: December 16, 2019, 06:48:45 PM 
Started by Moira HFG - Last post by Moira HFG
Hello Dietmar, thanks for your suggestions.

In the end I decided to paint the pattern in tracing black, the sort used in stained glass painting. It took a fine brush and a lot of patience, but they came out fine.

 on: December 14, 2019, 01:13:18 PM 
Started by Moira HFG - Last post by Dietmar
There are several other ways to get the image into the surface of dichroic glass. There is the option of laser engraving the glass surface. If that does not work try to laser engrave an etching resist on the glass (and etch later).

A total different way to small and complicated images is making a murrini cane. There are many ways to do, but most of them include lampwork or require a glory hole.

- Classic lampwork cane: Find a large central part of the pattern and shape a glass rod like this. Paint the other parts layer by layer on the sides of the starting shape. Finally put caps of clear on the ends, heat and pull to thr required diameter.

- Complex lampwork cane: Make details of the final image in contributing canes and pull them thinner. Cut them into sections of about 5cm and reheat them before combining them into a more detailled image. Repeat reducing the diameter and combining more parts untill the final image is complete.

- Mosaic cane: Bundle fine sections of colored rods (stringers) in a way that the image is visible in the end of the bundle. Use copper ore iron wire for bundeling and hest in the kiln to tack fuse temperature of the glass. Pic it up with a blob of clear glass on a punty and secure the front edge against falling apart. Heat the bundle from one end to the other to squeeze the trapped air out, add a second punty, heat and pull to the required diameter. You can combine premade canes with solid rods (stringers) for more complex images.


 on: December 14, 2019, 12:28:20 PM 
Started by Moira HFG - Last post by Dietmar
You might have to reduce tha glass much slighter than you did. This glass might contain lead in the glass matrix, that reduces to a dark silver (like haematite). Just turn gas up to "dragon-breath" and go quickly several times through the tail end of the flame. Watch the bead as the gold comes up.


 on: December 14, 2019, 12:23:46 PM 
Started by flame n fuse - Last post by Dietmar
I've seen hollow beads, tumbled in a bed of short pices of stainless steel wire. The beads were frosted nicely. But the holes "swallowed" several of these wires per bead. The removal of those wires was a pain in the ... (your imagination). Most of those beads kept the wires forever.

If there are particles of shot stuck in beadholes, try an ultrasonic cleaning bath. The ultrasound wiggles much more than any other tool. Between the shot and the hole there are additional particles of your abrasive. They are the "ones" that clog the gap between shot and bead. With those vibrations the whole material gets in motion and the abrasive might move out or break into smaller particles.


 on: October 26, 2019, 07:42:02 AM 
Started by Flowers - Last post by Zeldazog

So kiln carving should be done on a full fuse rather than a slump setting?

Well, you can do it on any setting you like, but the hotter you go, the more definition you will get.  There's another Bullseye tipsheet about kiln carving, and you can see the sort of detail on that, they recommend at least full fuse.

And basically slumping is the very final stage of a piece?
Because slumping is the lowest temperature process, yes - when planning on making a piece that might have several stages and different process temperatures, you have to consider what temperature each will be and design your work in that order.

Also what exactly is a fire polish?   Smiley
Fire polishing is taking the glass hot enough for the surface to melt slightly, so that it softens and smoothes.

 on: October 26, 2019, 06:23:47 AM 
Started by Flowers - Last post by Flowers
Hi there thank you both so much for your kind advice.
Thank you for the link to settings I will print it out and have a look.
So kiln carving should be done on a full fuse rather than a slump setting?
And basically slumping is the very final stage of a piece?
Also what exactly is a fire polish?   Smiley

 on: October 26, 2019, 06:00:53 AM 
Started by Flowers - Last post by Zeldazog
I am guessing you're using presets on your kiln.  Take a look at what those schedules actually are - the temperatures that is programmed in.  It's worth getting to know them as this should explain why your slumps are disappearing at fusing temperatures.

Even better, get off presets, and learn to program in yourself, you will have so much more control over what you do, a much better understanding of the process, and it's essential if you want to start creating mulit-layer or more complex, thicker designs.

 on: October 26, 2019, 05:57:42 AM 
Started by Flowers - Last post by Zeldazog
Slumping is the lowest temperature of all the processes we apply to glass fusing (Apart from annealing that is) - so you have to do all your ful fuse, tack fuse or kiln carving first, before you slump.

If you've done a kiln carve (which I do at full fuse) and you find you want to add something, yes, keep the fibre paper in it as tack fusing is sitll quite hot.

Take a look at this from Bullseye, it explains what happens at each temperature range very well

On the subject of slumping, assuming you mean into a mould (if you mean using fibre paper, that's really called kiln carving or bas relief - slumping just means softening the glass enough to bend, not to reshape) - some people will combine slumping with fire polishing, but in my opinion and experience, all other processes are too hot for slumping, and your glass will deform as it slips down the side of the mould. 

 on: October 26, 2019, 03:41:16 AM 
Started by Flowers - Last post by Flowers
Hi Everyone
Iím a little stuck.
If I slump glass into a mould or over fibre paper more often than not it then needs to be shaped or sanded and sometimes I want to add to the piece.  But how do I do this without it losing the shape of the slump?
I tried an experiment yesterday a rectangle of tekta over 3 strips of fibre paper, put it in the kiln on a slump setting which was fine but then I neatened up the sides and added a few bits and put it in again (minus the fibre paper) on a tack fuse.  When I took it out it had lost the slump.
How can I keep the slump if I need to put my glass back in again? Should I keep the fibre paper in or do a different type of fuse what am I doing wrong???
Thank you so much


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