• Art Glass Resources, and some business information
  • Helpful hints and tips that we find online, in books and from our own personal experiences
  • Lots of great information for Stained Glass (Tiffany and Leaded), Lampworking, Fusing, Slumping, Glass Painting, Sandcarving, Mosaics and more
  • Lastly, HARRACH is pronounced, Hair - wreck

Wednesday, November 30, 2011

How to make raku glass "pop" tutorial

This little hint is written for lampwork artists that are unable to get some nice colors with raku glass.  First of all, I use soda lime glass (soft glass) that is 104 coe.  I use both raku frit and raku glass rod.  I seem to get the best effect with frit.

So basically what you will need to do is form the bead to whatever shape you desire, first.  Then when the bead is still hot, add the raku frit or decorate with your glass rod.  Once done melt it all in to the base color, and let the bead cool down.  

Once the bead has cooled down, reheat the bead, this time using a lot of heat in a reducing flame.  A reducing flame means, a flame with more propane than usual.  Once heated up and molten, quickly cool the bead.  I cool my beads by placing them on the back of a cold, brass lampwork press.  I just lightly rub the bead around so that the raku cools down quickly.  Now take a look at your bead.  If the raku glass looks like it needs more color in a certain area, heat that spot up again and cool it quickly again with the brass press.  You can't heat and cool the bead too much because after awhile the raku color will fade away and look dark.  So you must try to get it right the first couple of times!

Practice, practice, practice and eventually it will become easy.  Good luck and have fun playing around.

Monday, November 21, 2011

Types of glass and their applications

Sheet glass

Sheet glass is used for the construction of stained glass windows, mosaics and fused glass art. When cut into thin strips it can be used for lampworking and when crushed it can be used as frit.

Glass rods

Glass rods are used for lampworking and kiln fusing (if used with compatable glass).

Frit is crushed glass; fine, med, or coarse sizes.  It can be used in lampworking and fusing to add color to other glass used in an art glass piece.  By filling a glass mold with frit,  you can make cast glass art.  Fine frit can be used for freeze and fuse applications as well as glass clay.


Stringers are thin and round spaghetti-like looking pieces of glass used in hot glass applications such as lampworking and firing in a kiln.


Noodles are a lot like stringers except that they are flat and a little larger than stringers.  They can be used in the same applications as stringers.

Casting billet chunks

Casting billet chunks are used for casting glass in a mold and other kiln applications.


Jewels can be faceted or cast glass.  They are used in stained glass windows.


Nuggets, or glass globs can be used in stained glass windows (when foiled), fusing and mosaics.


Rondels can be used in the construction of stained glass windows.

Glass Powder

Glass Powder can be used in lampworking, fusing, glass painting (that would be fired in a kiln) and glass clay.


Dalles are slabs of glass that are used in Dalle de verre art.

Friday, November 18, 2011

How to add your Facebook photos to Blogger, TypePad, and other webpages, in a widget link

Look to the far left of this article on my blog page and you will see what I'm talking about!  Click on it, just to see what I'm talking about,  and you will go to my Harrach Glass Facebook group page.

A long time ago I had added my Facebook group page, Harrach Glass,  to my blog,  but after a year or so,  I deleted it because the pictures were too big and distorted.  I had intended to reinstall that widget to my blog with smaller pictures.  Unfortunately when I went to put Facebook back on my blog,  I couldn't remember how or where I had originally found that widget and then I was up a creek without a paddle.  After looking all over, I finally found the widget on Facebook and I thought I'd share this info with my readers today.

The link for this feature on Facebook is Facebook Badges.  Once you click on the link you will see that there are a few different choices you can use.  I wanted to use the Photo Badge option so that when someone looks at my blog, they see my Harrach Glass page link to Facebook complete with some of my  most recent photos that I've posted.  If you decide to do the Photo Badge as well, you have the option as to putting it on Blogger, TypePad (which I'm not familiar with) or your own webpage.

I noticed that when I put my badge on my blog and tested it out, the link brought me to my personal Facebook page instead of my Harrach Glass page.  And for me, that was not what I wanted!!!  So, if that happens to you, once you have put it on your blog, follow these perhaps not so simple step by step directions and you should be able to fix the problem.

  1. In Blogger's "new look" page view, shown above...  since that is what I've been using, click on the Layout section.  It's located on the left side of the page. 
  2. Once again, on the left hand side of your blog's layout page view,  located somewhere under the title or header of your blog, you will now see a box that says HTML/JavaScript right under the light blue Add a Gadget box.  Basically, look for the blue Add a Gadget Box, and then look right under it.  To make sure it is the correct box, click on the HTML/JavaScript link to verify you have the correct box!  
  3. Next, click on the "edit" link on that HTML/JavaScript box.
  4. You should see, Facebook Badge START in the html box.
  5. So to be able to make a badge you have to have a group page.  If you don't have one, you need to make one now.  If you have one, open a new window in your web browser and pull up your group page and copy the group page's address. 
  6. Go back to the your blogger page and in that box we've been looking at, in the HTML text paragraph, highlight everything you see between the quotes, starting on the second line and perhaps includes the third line (depending on how long your link is).  Once highlighted, hold down the control key and V key on your computer's type pad.  This should replace the original link with the correct link to your Facebook group page.
  7. Scroll farther down in the HTML code until you find title=    I replaced the name of my business with the name that showed up there.  Once done, that will be the title of your widget.  In my case, the title is my business name, but you can name it whatever you want to.  
  8. Finally, click SAVE.  Then go back to your blog to proof read it to make sure your links are correct.  And you're done :-)  If all else fails and you can't get it to work, remove it :-)  Then you can start all over!

Thursday, November 17, 2011

Play-Doh Fun Factory.... and more tools for glass clay

Have you ever wondered what you can do with glass clay besides make rose buds and leaves?  We did some looking around online and found some great ideas for our readers.  Use these cool ideas and patterns by themselves to make pendants, earrings, and fun things like that,  or fuse them onto a sheet of glass to embellish a plate or bowl or whatever!

Roulette tool

Polymer Clay Texture Stamps

Click here for a lot of great ideas for clay and information that you can also use for glass clay!  Ceramic Arts Daily

We included the Play-Doh Fun Factory picture as seen above,  since it is an excellent way to make a lot of great shapes with your glass clay.

Don't exclude using cookie cutters!  They come in hundreds of shapes and sizes.

Rubber stamps also come in hundreds of shapes and sizes and can be used in quite a few different types of applications.

Use Silicone molds to create great glass clay objects.  Look for RTV silicone rubber for sale online or at your local craft or hobby store and start making great little molds.

Wednesday, November 16, 2011

Cutting glass for fused glass pendants

Here's a simple tip for anyone new to fusing glass pendants that will have a clear or transparent glass cap (layer).

When you cut glass pieces when making a pendant with two pieces of glass fused together, make the top piece of glass a fraction of an inch larger than the bottom piece.  Do this so that the top piece will melt completely over the bottom piece.  That way the bottom piece of glass is totally encased by the top layer. For this "look", you do not want to have any of the bottom piece of glass sticking out from under the top piece of glass unless your design was meant to look that way!

If you accidentally cut the top piece too small and the bottom layer is not covered by the top layer of glass, it is possible to use a glass grinder to remove that area.  Once completed you'll have to refire that piece of glass to fire polish the edges again.

As you can see in the photo below, the top clear cap glass is slightly wider than the bottom black piece of glass.

Monday, November 14, 2011

Which side of a piece of glass do you cut on?

A lot of new glass artists seem to get confused as to which side of a piece of glass is the front or back and which side do you cut on.  Well, luckily this answer is easy!  

A piece of glass doesn't really have a definite front or back side, it is up to the glass artist to decide which side they prefer.  If another glass artist tells you that glass does have a front or back side, well.... they are sadly mistaken.  It is all up to an artist's personal interpretation!  When using Dichroic glass in fusing, it is true that you cannot fuse a Dichroic side to another Dichrioc side but that is not exactly what we are talking about in this mini lesson.

Now having said that, there is a "right and wrong" side to cut your glass on.  I'm talking about cutting with a hand held glass cutter.  If you are going to use a band or ring saw, then it doesn't matter which side you cut on!  As for using a hand held cutter, you should always look for the smoothest, shiniest side to cut on.  You have to push the glass cutter's wheel along the surface of the piece of glass to score it.  For that reason you need the flattest side to cut on.  It's extremely difficult to push a cutting wheel along a pitted or rippled piece of glass.  Heavily textured glass typically has one side that is not as textured as the other.

So if you decided, when you were in the planning stage of your window (picking out the glass), that you really wanted a piece of stained glass that had it's heavily textured side to be facing the front on your window, that is still easily do-able.  First you need to cut out your paper pattern pieces, follow our tutorial on cutting out patterns HERE if needed.  Then when you get to the paper pattern piece that you want to adhere to the piece of glass that has a lot of texture on it's front side, flip the paper pattern piece over and glue the front side of the paper pattern to the back side (which will be the smoother side) of that textured piece of glass.  Be sure to still get the grain of the piece of glass correct or it will look wrong later!  

Once glued on to the back side of the glass, you should be able to hold that piece of glass up in the light, look through it (if it's transparent) and see the pattern piece looking the way it should look when the piece is finally cut out and laid in place ready to be soldered.  

Saturday, November 12, 2011

How to drill a hole in glass

When I first began drilling holes in glass (typically for jewelry), in our art glass studio, everything worked like it should.  We could easily drill holes without any glass pieces breaking.  At that time I really should have taken notes on the process that I was using because after not drilling holes for a year or two, we went back to drilling holes and broke every piece we worked on!

So after some experimenting on this process we came to the conclusion that if you use a battery powered Dremel, you will probably have great success.  The electric Dremels seem to have too much power and can easily break the glass while drilling.  The battery Dremel has a control where you can turn down the revolutions to a very slow speed if necessary, thus allowing more hand control and less friction.  

You still need to submerge the glass piece in water to keep not only the piece of glass that you are drilling cool but to keep small glass particles from becoming air born, allowing the possibility of being inhaled.  Plus we always use diamond drill bits and they need to be used with water so as not to wear the bit out quickly.   We start on either the top or bottom side of the piece and continue drilling until the piece is completely drilled through.  We do stop from time to time to make sure the piece can cool down since if the piece over-heats, it can break.

A battery powered Dremel is also what we use when cleaning the bead release out of the interior of our soft glass beads (lampwork beads).  Once again, we found that we broke beads when using our electric Dremel.

Please keep in mind that it is much safer using a battery powered Dremel around water!

Photos by Harrach Glass

Thursday, November 10, 2011

How to remove kiln wash from glass

Trying to remove baked on kiln wash from the underside of a glass piece can be one of the most frustrating experiences for the warm glass artist.  In the worst cases, it doesn't respond to elbow grease, it requires nasty chemicals, and it leaves an ugly stain behind. 
But there's no need to despair, there are several ways to remove the baked on primer.  Part one of this two-part tip deals with less aggressive, relatively simple and safe, methods of attacking the baked on kiln wash beast.
1.  Vinegar.  Soaking the glass in distilled white vinegar (a mild acid) for two to three hours will often help the kiln wash come off with a minimum of scrubbing.
2.  Acid Etch or a similar etching product -- although this will leave a matte finish (not unattractive, by the way), a simple soak for ten to fifteen minutes will usually remove the kiln wash completely.
3.  Old fashioned elbow grease -- either after soaking in water or vinegar, or just by itself.  A good scrub with wet/dry sandpaper, Fabricut (open weave sand paper), or a similar product can work well. 

This information was found on Warm Tips.  Check out this web page for a lot of excellent warm glass hints and tips!

Wednesday, November 9, 2011

Nice glass fusing tutorial by Karen Godin in 2006.

This is not exactly a step-by-step tutorial...but several people expressed interest in gaining a better understanding of what I do - so, I took some pics as I worked on a recent project, and these are the results.

1. I purchase glass in large sheets, then cut them down into more manageable pieces, depending on what I plan to do with them.

The colour choices are astounding, so I really have to know what I'm going to do BEFORE I go to the store. Fusible glass is very expensive - a single, small piece (less than 1sq foot) can range from $9-$35 & more, depending on what you choose.

p.s. this pic shows a selection of OPAQUE glass that I use in my "Bloom" Series designs, etc... but for this project, I will be using TRANSPARENT glass to allow for the sunlight to pass through.

2. Depending on the design I have in mind, I usually find it easier to cut most of the glass that I plan to use BEFORE doing anything else.

I use special glass cutting tools to score, cut & "break" the glass.

I rarely plan out a design on paper - just envision it in my head & go from there.

In this project, I was commissioned by artist, TIM KLINE, to produce glass "sails" to be integrated into one of his functional art wind chimes or sun catcher creations. Tim draws on nature for his inspiration, so that guided my colour choices...and design.

I wanted glass that had a fluid feel with colours that you'd find in the ocean.

3. The tools of the trade include: a glass scorer/cutter, a rubber based bar (whose technical name escapes me at the moment) to guide the score, breakers (large & small), glue, ruler/tape measure, pen & cutting surface.  And, of course .... a kiln.

4. Once I've cut most of the glass needed for a project, I begin arranging the pieces in the design that appeals to me, cutting them to size as I go along. I use a base of clear, fusible glass (but could use a coloured piece if desired).

Tim is going to hang these pieces as diamonds, so that is how I arrange the design. I don't glue them on until I'm happy with the way they lie.

The cuts have to be quite precise, or there will be big gaps in the finished piece - NOT a desired result!

5. Now, I glue all the pieces to my base glass. Once this is done, the piece is ready to be fired.

However, I wanted to experiment with a technique using GLASS FRIT, which is essentially ground glass. It comes in FINE (requires mask), Med & Coarse grains. I like the Medium & Coarse variety best.

I've used the Coarse in my Red Sun Coasters & enjoy the textured effect. In this case, I'm NOT looking for texture because it's probably going to be an outdoor piece & will be easier to clean if flat - so, I've chosen med grain, in an seaweed green colour.

I mix it with glue to make it easier to apply and use a tool (no idea what it's called) to place it.

Frit is sold by the ounce (~$2/ounce, if I remember correctly)

6. The result I'm looking for is to blur some of the harder edges where they connect in the design. I want to accentuate that fluid, watery effect.

7. Once I've completed a piece, I set it aside to dry, and move on to the other pieces in the set.

Sometimes, I will do several pieces simultaneously, but because this was a new design, I wanted to be sure of the result before doing the other pieces.

8. Now that I've completed all my pieces, I am ready to fire the glass in the kiln.

This picture shows Tim's 3 "sails", as well as a couple of other pieces I did using the same glass.

9. So, these are the finished "Sails". The dimensions are 8x8, 6x6 & 4x4. I'm looking forward to seeing how Tim chooses to integrate them into one of him amazing creations!

This is a close-up of one of the sails to better show the effect of the frit in the transparent glass.

I'm very pleased with the results!

I invite you to peruse my portfolio at your leisure! =}

Today's glass fusing tutorial was written and posted on a message board in 2006 by Karen Godin.  It is an excellent tutorial for glass fusing and we hope our readers enjoyed it as much as we do.

Tuesday, November 8, 2011

How much should you charge?

Now that you know how to make stained glass windows, suddenly people are asking you to make custom windows, or other glass art, but you are not sure how much to charge for your work.  One of the biggest issues you will come across when making glass art is the art of pricing your artwork!  You will find that the pricing question is a familiar quandary to artists in all mediums.  Basically, you want people to buy your windows and at times you think that means you have to under price your piece to sell it.

While you work on a piece, you will need to keep a record of the cost of supplies that you have used in your window.  That means, the cost of the glass, foil or lead came, and solder used, plus additional materials.  Next you will need to know how much time it took to make the window.  And finally, how many pieces of glass are in the piece?  Other charges such as for sandblasting, bevels, jewels, roundels, fusing and other elements need to be included in your price list.  

Although leaded glass windows typically have less pieces than foiled windows, you will need to use additional steps in creating the window due to the cementing process.  For that reason our studio charges more for leaded glass windows.  

All in all, pricing your work is not always a formula set in stone.  We never advise under pricing art work just to make sales.  A studio that under prices will eventually end up closing and going out of business.  That also goes for a hobbyist working out of their home.  

Lastly, people buying glass art need to look at the quality of the finished product which they are wanting to purchase.  Sloppy work made quickly in a production factory will probably never look as beautiful as work made individually, carefully and correctly by a skilled craftsman.   Although buyers may find cheap stained glass art in department stores, chain stores and other locations, the quality and durability may never compare to glass art made in smaller glass art studios.  Look at the foil around the glass pieces for uniformity, soldering should be slightly rounded, plus the patterns and grain of glass should all go in the same direction.  In the end it all comes down to...  you get what you pay for!

Monday, November 7, 2011

Firing a bottle with an enamel label, tutorial

Once you start putting glass bottles in your kiln you will quickly learn these techniques.  When you are just starting out you will want to look online for this information but you probably won't find it written in many articles.  So today we thought we'd share some of our own Harrach Glass,  glass bottle firing techniques with our readers.

Basically what you will need to remember is that the part of the bottle that is laying on your kiln shelf will look dull after being fired.  So if you want an enameled label to look shiny, make sure it is facing upwards on your kiln shelf or in a mold.

Next, if the bottle not only has an enameled label on the top side, but also has writing on the bottom side that you want to preserve (even though it will look dull), you need to lay the bottle on shelf paper instead of laying it on a primed shelf or mold.  Usually the enamel writing or image will stick to shelf primer but it doesn't stick to shelf paper.  It is also advised to use shelf paper that doesn't have a texture since that will show after fusing.  Just lay shelf paper on the mold you intend to use and the enamel will not stick.

Always use devitrification spray on your bottles.  We just wipe it on to the entire bottle, by hand!  Click here to see the our link to homemade Devit Spraythat works every time!  You don't need to let the spray dry before turning on your kiln either.

Friday, November 4, 2011

Free Stained Glass Patterns

Most glass artists have probably already discovered Chantal's stained glass webpage but if not we have included a link to it here on our blog today.  It is full of free patterns and some other patterns that she is selling.  There are so many different types of patterns on her site that you'll just have to check it out for yourself to see what we are talking about!

Click here to see Free Stained Glass Patterns

Sample of Chantel's stained glass patterns

Wednesday, November 2, 2011

Another glass clay tutorial

Hi glass friends, we really liked this tutorial on glass clay so much that we thought we'd share it with more people! 

I’ve been asked often lately about making Glass Clay, so thought I’d give you a quick review:  what it is and how I make it.   I’m heading to Olympia next week to teach the Machine Embroiderers of Oregon and Washington how to make their own glass buttons with it.  I’ve taught this technique nationally since 2004, at the Art Glass Association Conference in Portland Oregon.  This is the first year in the last six that I did not teach Glass Clay (or Pate de Verre Without Molds) at the Las VegasGlass Craft & Bead Expo; I chose to offer a new class this year instead, while waiting to launch my new Medium.  By ‘launch’ I mean all that a new product entails, including packaging, labeling and marketing.  And after two years of research, it’s almost ready…almost!

Essentially Glass Clay is glass paste, another form of Pâte de Verre, but without having to make molds.  Certainly not a traditional technique, but a fun, easy, fast way to make small glass sculptures, buttons, beads, and more!

I make a clay-like substance, glass paste, by mixing powdered glass with a liquid binder or medium.  I prefer to use my new Glass Medium, which you will soon find on my website.  After testing many different materials my new Medium burns out cleaner than anything I’ve ever tried, while still being able to carve more detail into it after it’s dry and before firing.  Most people use CMC, and I’ve heard of and tested many other concoctions that may or may not work for you, but rather than go into them all I’m going to just tell you how I make it, using the best Medium I’ve ever tried.

I mix my Glass Medium with room temperature or warm tap water (if your water contains heavy mineral deposits, you can use distilled water, but it takes longer to set up…as long as a couple of days!):  Fill a clean jar with a cup of water.  Sprinkle in one teaspoon of Medium for a very thick paste.

Use a whisk or fork to stir until dissolved, then let stand 30 to 60 minutes to thicken, stirring occasionally.    I like it to be the consistency of jelly.  I have stored this new Medium in my studio for over two years after mixing, but typically it’s used up within a week.  I have used other binders that developed mold and just so you know, the mold adds an interesting patina.  If you prefer a less gelatinous mix, by all means thin it with a little more water.  Also, if you’re planning to use it for liquid lines, you’ll want to dilute it.

Wearing a respirator or N95 disposable particulate mask, place your glass powderinto a mixing bowl.  I prefer to use a small glass bowl, but often use a 4 or 8 ounce plastic food storage bowl.  Ratios of glass powder to Medium vary, depending on the powder.  Straight out of the jar glass powder can be as grainy as sand or as powdery as talc.

As a starting point I use 2:1, glass to Medium.  I’ll place 2 heaping spoonfuls of glass powder into my bowl, then drizzle 1 heaping spoonful of Steider Studios Glass Medium over the powder.

Using a palette knife or spoon mix well, mashing the Medium into the glass powder until it’s glossy.  It should be the consistency of cookie dough, or a wet pie crust, holding together when pinched or rolled into a ball.  If it’s too dry, your project will crack; add more Medium a couple drops at a time.  If it’s too wet, your project will sink down into itself; sprinkle more powder into the mix, a little at a time, mixing well after each addition.

Once it’s mixed to a consistency that feels like clay or cookie dough you’re ready to play.  You have about 30 minutes working time to sculpt it, make pattern bars or press it into candy molds to freeze, then it begins to dry out.

I mix all my colors  before beginning to sculpt, and wrap each with plastic wrap to keep it wet until I’m ready to work.  I can store glass clay like this for weeks and have left it for up to a year.  It can be a bit sticky, so I work on top of waxed paper to stay as mess-free as possible.

For sculpting I use dental tools, plastic and metal sculpting tools, plastic make-up applicators, toothpicks, kitchen implements and whatever happens to be close at hand.

I’ve made faces, flowers, animals, and small open vessels and bowls.  These small sculptures can be used for door pulls, plant and garden decor, adornment for lidded boxes and much more.

You can press glass clay into candy molds, freeze for an hour or two, then pop it out of the molds.  The advantage to using my Medium for this application (known as ‘freeze and fuse’), is you can ‘cold work’ the edges and carve in additional detail before firing, after the piece is completely dry.

One of my favorite ways of working with glass clay is making paste pattern bars.  Have you played with polymer clay?  Play dough?  I use the same principles.

Roll it out (or roll it through a pasta machine) between sheets of waxed paper & stack layers of different colors, then slice, re-stack and slice again.

It’s easiest if you roll between two pieces of waxed paper because it can be sticky.

Make what I fondly call ‘Pig in a Blanket’ by making a rope, then wrapping it with a different colored ‘blanket’ that’s been rolled out flat.  Or roll your pigs into many blankets for ‘rings’ of color when you slice.

Pattern bars are sliced with a tissue slicing blade, rolling the bar one quarter turn after each slice so you don’t end up with one flat side.  Use these slices for buttons, beads, cabochons, or as decor for other glass projects just to give you a few ideas.

Make coils or ropes of clay, place different colored ropes next to each other for millefiore.
More food for thought:  add mica! A little mica goes a long way.   Adorn with Dicro Slide! Use a cute scrap-booking punch to cut shapes from Dicro Slide that enhance your design and apply just before firing.

To get a spiral effect, stack rolled out sections on top of each other.

Carefully peel off the wax paper, keeping it close to your work surface.

Then roll it up, smooth out and slice.  The ends will be uneven unless you roll out rectangular shapes instead of ovals.  I slice off the ends, roll them into balls, pushing the colors into a marbled pattern, then flatten them for buttons and cabs.

The next step is to let your projects dry on paper towels.  Use a food dehydrator, or just set them aside for a few days.  In a one day workshop we use hair dryers to speed the drying process.  Once dry, glass clay is very fragile, like a meringue cookie so use care in handling it.  Gently peel off the paper towel from the bottom.  Using an emery board and wearing your respirator, file off any rough edges along the bottom.  Use a wooden skewer to sand off any rough spots in your details.  You can use a skewer or a dental tool to carve in additional lines if desired.  Just remember to take care as it’s fragile.  Did I already say it’s fragile?  It’s very fragile!

When you’re ready to fire, try to fire like sizes and like colors together.  For larger projects or light colors, your soak time will be slightly longer.  I strongly recommend using a kiln that you can watch the progress so you’ll know when to stop and anneal, and you can note the process temperature in your kiln.  Your pieces are going to shrink approximately 25 to 30%, depending on your process temperature.  The longer you soak at process temperature, the glossier they’ll get and the more they’ll shrink.  Vent your kiln until it reaches 1000º while the binder is burning out.  You can ramp up AFAP, but I think it’s better to control the ramp up; and do start peeking around 1200º to 1250º.  Be sure to wear your safety glasses when looking inside the heated kiln.  In my kiln, depending on the size and color, my process temperature is 1300º with a 30 minute soak for small two to three-inch sculptures; or 1350º with a 13 minute soak for beads and buttons.  I anneal at 900º, using Bullseye’s annealing_thick_slabs chart for thickness.

I love introducing people to working with glass powders, whether wet or dry.  I hope you found this post useful and I hope you’ll try my new Medium.  I have testers working with it now across the US and Canada, and am holding off my launch until all results are in.  An instruction sheet, including complete firing schedules are included with each jar of Steider Studios Glass Medium.  Available soon!  Very soon, I hope!

If you’d like to be among the first to know the release date, you can subscribe to this blog by clicking the ‘e-mail subscribe button’ at the top right of this page; or click on my Facebook Business Page (then click on the ‘like’ button to receive updates), where the announcement will be made.

Have Fun!  Be safe, wear that respirator and don’t forget your safety glasses!!  Oh, and I’d be ever so grateful if you’ll tell your friends about Steider Studios Glass Medium!

EDIT:  You can now purchase Steider Studios Glass Medium™ via Artfire……

Click here to purchase Steider Studios Glass Medium™ Economy Size on Artfire.
Click here to purchase Steider Studios Glass Medium™ Regular Size on Artfire.
Click here to purchase Steider Studios Glass Medium ™ Sample Size on Artfire.



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