• 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

Thursday, July 26, 2012

Skutt kiln programming tutorial, video

This video explains in easy to understand terms how to program your Skutt kiln.

Click here to watch the video!

Wednesday, July 25, 2012

Calla Lily lampwork bead video

This is a fun lampworking video, showing how to make Calla Lily beads,  uploaded by JerseyGirlBeads.

Watch the video here!

Friday, July 20, 2012

How to apply glass paint to a rubber stamp, for kiln glass stamping

Using propylene glycol as your paint medium allows you to add texture to your paint, or to use stamps.

Simply create a heavy paste using only propylene glycol, and mix with a painting knife on a smooth surface like a piece of float glass. With a paint brush, spread this mixture flat and even. Pick up with the stamp, and stamp your piece. Here, I have used RP7852MB "strong blue." Wipe off any areas where the stamped image is unwanted. Owing to the viscous nature of the propylene glycol mixture, the stamped pattern will not be smooth, but with fun, random ripples and waves. Stamps with delicate designs should be avoided.

enameled glass 



This information was found on the webpage Art of Stained Glass, click on the link to go to that page where you will find a lot more helpful stained glass information!

Tuesday, July 17, 2012

Glass blowing video

This is a fun glass blowing video that we think our readers will like watching. 
Click here to watch the video!

Monday, July 16, 2012

Preparing a kiln shelf for fusing glass, video


This video shows Erwin Timmers, the co-founder and co-director of the Washington Glass School where he teaches glass, lighting, sculpture, and metal work.  The video is great reference material for new glass artists wanting to fuse glass in a kiln!  

Click HERE to view this video.

Wednesday, July 11, 2012

Bullseye box casting tutorial



To view the original article and pictures follow this link Bullseye Glass Tips Sheet 5.

This Tip Sheet will introduce you to ways to create a reverse relief cast 
glass object with the optical clarity of a furnace casting, using plaster silica 
design elements in an open face mold assembled from vermiculite board and 
other refractory materials. In this process, there will be less waste than with 
traditional kilncasting processes and the majority of the mold will be reusable. 
The molds themselves will be of uniform thickness, allowing for even heating and 
cooling. Furthermore, the molds will not fail at casting temperature, which is 
among the most common concerns in kilncasting and one of the reasons that there 
is such a boggling array of mold recipes in use. The results are typically much 
cleaner and more predictable than kilncasting in most of the traditional methods, 
and the process is extremely easy to repeat for the purposes of making editions or 
production work.


Origins of the Method
This method of kilncasting developed as an outgrowth of an artist exchange project
in our Research & Education department with Mexican artist Rafael Cauduro. Cauduro 
had originally come to the factory to work in methods known as Painting With Light, 
but quickly became intrigued with kilncasting processes and began to make large-scale 
cast glass sculptures using traditional “monolithic” or one-piece refractory molds. 
The fabrication, handling, and technical challenges posed by making and firing 
these molds ultimately led the R&E team, assisted by Ray Ahlgren,* to begin researching 
other ways of building the molds. After the conclusion of the project, this research 
continued. TipSheet 5 will lead you through the processes that were subsequently 
developed.


Where you are going:  The finished piece
The end result will be a solid block of glass with relief imagery in the back of the 
piece that when viewed through the flat front creates a nearly holographic image. 
The top surface of the piece will be glossy and smooth. If carefully planned and 
executed, the top perimeter will have a soft, bullnosed edge. Occasionally, some 
cold work may be necessary or may be a tremendous advantage in the finished work. 
The finished block will measure about 19.5 x 19.5 x 4cm. These dimensions may be 
enlarged by adapting the general guidelines and adjusting the firing schedule.



Materials Needed
Glass: Because clarity is essential to creating a reverse-relief casting, we recommend 
using any of Bullseye’s 1800 series casting tints in billet form. Because they have 
smoother surfaces and less surface area by weight than other forms of glass, billets 
will trap less air than frit, powders, or sheet glass, and therefore create fewer bubbles
in the final piece. Billets are preferable not only for the clarity they produce 
in the finished casting, but also because they are easy to handle, cut, and load into the 
mold. The 1800 series glasses are formulated to gradually transition in color saturation 
as they go from thick to thin, making them ideal for this and other casting processes.
Other materials:
Clay and tools for modeling design elements
Metric scale
Metric ruler
Bullseye Hydrogel N (8242), or similar moldmaking material
Mixing containers
Bucket of water for initial clean-up
Bucket of water for rinse
Bullseye Vermiculite Board (8240)
Stainless steel (deck) screws
Bullseye Investment (Plaster-Silica) (8244), or similar refractory investment material 
Fiber paper (7036)
Vaseline/petroleum jelly
Murphy Oil Soap
946 ml Ziploc food storage box, or equivalent
Garbage can with liner
Self-lubricating glass cutter
Hammer




Notes on Metric measurements
For the sake of simplicity, all units of measure in this TipSheet are Metric. 
The decimal format of the metric system and its direct and simple translation from 
length to volume to weight in water makes it a superior system for laboratory work.
in the metric system: 1 cubic centimeter (cm3) of water = 1 milliliter (ml) of water = 
1 gram (g) of water.  If the interior of an empty box measures 20 x 20 x 2.5 cm, 
then this interior has a volume of 1000 cm3. 1000 cm3 of water is equal to 
1000 ml of water, which is equal to 1000 g of water. Bullseye glass is 2.5 times denser 
than water, so it would take 2,500 grams of Bullseye glass to fill this same volume.

Making a mold for multiple copies of a model
preparing a model using clay or a found object:
Prepare a model no larger than 5 x 5 x 3 cm using either water- or oil-based clay. 
This model will be used to make the design elements that will create the reverse 
relief imagery in the final casting. Water-based clay is usually softer than oil-based
clay, can be modeled very quickly, and can be reused and recycled. However, it 
will dry out over time and will shrink as it does so. Oilbased clay is usually firmer,
does not dry out, holds fine detail very well, is reusable, and releases very easily 
from most mold materials such as alginate, rubber, and silicone. Found objects 
may need to be coated with a release, such as Vaseline or Murphy Oil Soap.



For this particular process, the model itself should have minimal undercuts. 
Undercuts on found objects can be filled in with clay. The very bottom portion of 
these design elements will end up being submerged in investment material to 
hold them in place in the final casting process, so plan accordingly.




Preparing to pour a mold:
Place the model into a box with a minimum of 15 mm
of space all around it; a 10.5 x 10.5 x 9 cm flexible plastic food storage box (Ziploc)
with a slight draft to the sides works well. The box serves as a coddle system, or 
a set of dams, into which you will pour the alginate to make the mold. Use something 
like petroleum jelly to secure the model to the bottom of the box to keep it from 
moving or floating once you have poured in the mold material.


Types of flexible mold material 
for casting multiple copies:
Hydrogel N mold compound is a type of alginate that is fairly easy to mix and sets in 
5-10 minutes. It is somewhat weak with a short working life and will dry out 
and shrink over a couple of days, but if kept in a sealed container and treated carefully, 
it will usually last a few weeks.

RTV Rubber (Room Temperature Vulcanizing) is activated at room temperature but can have long set times and often takes 24 hours to cure into a very durable, very strong material.
For the sake of expediency, we have used Hydrogel N to illustrate this TipSheet.

Mixing hydrogel N mold compound:
Measure box/coddle system—including 1.5 cm above the model in the calculation. 
For our specific box and model, this is 10.5 x 10.5 x 4.5 cm, which equals 496 
cubic cm, which means that it will take 496 grams of water to fill the box to the 
appropriate level. The manufacturer of Hydrogel N mold compound recommends 

mixing it 3 parts water to 1 part Hydrogel N by weight and adding the mold 
compound to the water, but we have had good success mixing it 4 parts water to 1 
part Hydrogel N by weight and adding the water to the Hydrogel. For our project, 
then, we will need 496 grams of water and 124 grams of Hydrogel. We have 
had the best success mixing this with a spatula in a bowl using a folding, not a beating 
motion, to avoid creating bubbles in the mix. Work in a well-ventilated area and 
wear a NIOSH-approved respirator whenever working with powdered materials 
or dusts.


Pouring the hydrogel:
Be certain that you are working on a flat and level surface. Pour to one side of the object
in a flowing motion to keep air from getting trapped on the surface of the model. 
Vibrate the worktable so that the air bubbles don’t get stuck to the model.


Cleanup:
Using water immediately makes a mess. Allow remaining Hydrogel to dry in the
container and then immerse in bucket of water for initial clean up. Once cured, it is 
possible to peel the Hydrogel out as a skin. Never pour into a sink.

Removing the mold from the coddle box:
Turn the coddle box upside down on the work table and squeeze and push the flexible 
walls to let air into the sides until the mold drops out. Turn the mold over 
again and squeeze it and push carefully to force the clay model out. You now have a 
flexible mold for pouring multiple copies of your model in another material.



Making design elements out of refractory mold material
Many different refractory mold (or “investment”) materials and recipes exist. In our 
factory Research & Education department, we use a simple mixture of 50% #1 Casting 
Plaster and 50% silica flour (295 mesh) mixed by weight.


Measuring mold material:
Measure the original model and overestimate its size; it is better to discard some 
inexpensive investment than to run out and have to quickly mix more. Our model is 
roughly 5 x 5 x 5 cm = 125 cubic cm. Referring to the Investment Ratio chart on page 8, 
we can add together the amounts of material needed for voids of 100, 20, and 5 
cubic centimeters to get the proper quantities of water and investment required for 
our 125 cubic centimeter void. This means that we will need 79.99 grams of water 
and 139.98 grams of investment. Weigh these materials in clean, dry buckets. Remember 
to work in a well-ventilated area and wear a NIOSH-approved respirator whenever 
working with powdered materials.


Mixing investment material:
Steadily sift all of the required investment into the water. An island of dry material 
will begin to form once you have sifted most of the material into the water. Allow 
the investment to fully hydrate/become saturated. If left alone, the investment can 
sit for quite some time. Once the mixture is saturated, dip your hand in and 
break up any chunks. Feel the consistency. You want a creamy texture. Mix the 
investment by hand for 3–5 minutes or with an electric mixer/drill for 1–2 minutes. 
This will cause the plaster to begin to work so that it will subsequently set.


Pouring the mixed investment into the mold:
Be certain that you are working on a flat and level surface. If you have a lot of fine detail,
begin by brushing some investment mix into the details in the mold, which will 
break the surface tension so the mix can go into the details. Aim for one place in 
the mold and pour in a flowing motion to avoid creating bubbles. Once 
you have finished pouring, vibrate the work surface to make certain that no air is 
trapped within the details of the mold.

Cleanup:
Clean investment mixing buckets right away. Old plaster in mixing buckets, on hands
and/or on tools will cause subsequent batches of investment to set before 
you have a chance to pour them. It is good to use black
or colored buckets so that you can easily spot old plaster in them. Never pour
investment into a normal sink as this will clog your pipes. Pour excess investment into 

a garbage can that has a liner in it. From there, have two buckets of water to use in your 
cleaning operation: one bucket for cleaning and scrubbing the mixing buckets and one 
bucket for rinsing them. When these buckets become too filled with waste investment to 
continue using them, allow them to settle, then pour off the excess water and dispose 
of the waste investment in garbage bags.

After investment has set up:
It usually takes 5-20 minutes for the investment to set. Lightly touch the surface of the 
investment to test its hardness. Once it has set, the plaster/silica design element can be 
removed in the same fashion that the clay model was. Immediately after setting, the 
design element will still be a little soft, which means that it can be easily modified 
with simple clay tools at this point. After the design element hardens, it can still be 
modified, but you may need to use power tools for the sake of speed.  Store the 
alginate/Hydrogel mold in a closed container for later use, being careful to keep 
it from drying out.





Building the box mold with vermiculite board

Vermiculite board:
Vermiculite has a bad reputation because it is often mined in the same places as 
asbestos, which can contaminate the vermiculite. Bullseye Vermiculite Board comes 
from a mine that is certified asbestos free. It is stronger, more durable, and less 
expensive than most fiberboard and can be cut and tooled like wood or particle board. 
Work in a well-ventilated area and wear a NIOSH-approved respirator whenever 
generating dusts.  If you want your finished piece to be level and square, it is 
important to cut the vermiculite boards accurately. Also, pre-drill and countersink 
screw holes so the board does not bloat or blow out when you screw it together. Use 
stainless steel screws to put the mold together as they will hold up to repeated firings 
without flaking. Do not use galvanized steel screws because upon firing, the galvanization 
will release toxic fumes and the screws will flake and cause contamination in your kiln.
Cut two long side boards at 25.5 x 9 x 2.5 cm, two short side boards at 20 x 9 x 2.5 cm, 
and one base board at 25.5 x 25.5 x 2.5 cm. Lay the boards out as an open box 
and pre-drill holes in the flat surface of the long side boards to connect them to the ends 
of the short side boards using a bit that has a diameter slightly smaller than the diameter 
of the stainless steel screws. Be sure to drill your holes on center to avoid blowing out the 
side of the board. Then screw the sidewalls together. Next, set the base board on top of the 
assembled side boards and pre-drill holes to join it to the sides, and then screw it together. 
Then take the entire box apart and fire the vermiculite board at a rate of 500°F (278°C) 
per hour to a temperature of 1580°F (860°C) or about 55°F (30°C) higher than the temperature 
at which you will cast the glass. Hold at that temperature for half an 
hour, and then crash cool the kiln.Once the boards are cool, take them out and 
reassemble the sides using the stainless steel screws. Cut a piece of 3 mm fiber paper at 
25.5 x 25.5 cm and set it on the base board, then set the assembled sides on top of the fiber 
paper, and screw the box together. Line the side walls with 3 mm fiber paper, making sure 
that it fits tightly, without bowing or leaving gaps in the corners.

Affixing design elements within the box
The design elements must be held firmly in place for the glass casting process. To hold 
them, a shallow layer (or “bed”) of investment is poured into the bottom of 
the box around the design elements.  Hydrate the plaster/silica design elements by soaking 
them in water until the bubbles quit rising (5-10 minutes). This helps to keep the
plaster/silica bed from sucking in around the design elements due to differences in 
humidity. Arrange design elements on the interior base of the box. Check once again to make 
certain that your work surface is flat and level.

example
Measure the inside of the box to determine the appropriate amount of investment
material needed. Our box is 19.5 x 19.5 cm, and we need enough investment to 
fill it about 0.5 cm deep. Thus, the investment needs to fill a void that is 190 cubic 
centimeters. Referring to our investment (plaster/silica) mixing table you will see 
that there is a batch listed for 200 cubic cm, which will be more than enough.
Mix the investment according to the previous directions and pour it quickly and
evenly. Avoid pouring the mix directly onto the design elements or the side walls. 
Vibrate the work surface to make the investment level out.Set aside the box mold 
for 24 hours to make sure that all of the plaster/silica components of the mold have 
cured to an adequate hardness. As with the design elements, you may choose to
modify the affixing layer of investment.


Selecting glass
You may select any form of Bullseye glass to fill the mold (billet, cullet, sheet, frit, etc.), 
but the form that you select will have a direct impact on the clarity of the 
casting. The smaller the form of the glass, the more air bubbles in the finished piece, 
the less optical clarity. Powders and fine frits will create so many air bubbles 
that even our Crystal Clear 1401 will appear milky white and opalescent when used 
at this 4 cm thickness.Because this is a reverse-relief casting and the intention is to see 
the imagery created by the design elements through the surface of the finished piece, using 
billets will give you the desired clarity.

Calculating glass to fill the mold:
Measure the inside of the box mold. Then figure out the cubic volume. Use a specific 
gravity of 2.5 for Bullseye glass to calculate how much glass will be needed to 
fill the mold to the desired thickness. (Bullseye glass is approximately 2.5 times 
heavier than water.) 


Our box mold:
19.5 x 19.5 x 4 cm (desired thickness of casting) = 1521 cm3
1521 x 2.5 = 3802.5 (grams of glass needed)
This does not account for the displacement of glass caused by the design elements.
If you would like to account for the displacement caused by the design elements or if you 
have an irregularly shaped mold, you can use rice for a more precise measurement. 
Fill your mold with rice to the desired thickness of the casting. Then remove the rice 
and decant it into a container. Level the rice, and then mark the level. Remove the rice 
from the container, and weigh the container. Then fill the container with water 
up to the former level of the rice, and weigh it again. Subtract the weight of the container 
to get the weight of the water. It will take 2.5 grams of Bullseye for every 
gram of water.Use a reliable scale to weigh out the amount of glass you will need.

Cutting the billet:
Use a self-lubricating glass cutter to score glass and about the same amount of pressure 
required to score 3 mm sheet glass. It is always easiest to break the score if it is made 
along the centerline of the piece of glass. In other words, cut the billet in half, then in 
half again, to get the appropriate sizes to fill the mold.


Find the score line and break with big running pliers. Or hold the billet in a gloved hand 
and use a hammer to open the score by tapping on the back of the glass underneath the score 
line. (This does not take a lot of force; a tap exactly under the score line will cause the 
score to open cleanly.) Hold the billet low and over the table so it does not fall on your 
foot. Remember to wear eye protection.

Loading the glass into the mold:
Clean and dry the glass thoroughly, making sure to remove stickers. Any glass that is 
going to be lower than the thickness of final piece can be against the mold wall, but 
be careful not to indent the fiber paper because it will create a bump on 
the finished glass piece. Stack the rest of the glass into the center of the mold.


Loading the mold into the kiln:
Make sure the kiln is level and make sure the mold is level. Set the box mold on kiln 
furniture/posts, establishing three points of contact at least 2.5 cm from the floor of the 
kiln. This will allow heat to circulate all around the mold. If you would like to
intentionally create a wedge shape, you may set up the mold on an angle; but make 
certain that you have enough glass to cover the design elements, and that you adjust your 

annealing schedule to accommodate for the thicker area in the casting. If, for example, 
you would like a wedge that is 5 cm on the bottom and 2.5 cm on top, you will want to 
support the end that will be thicker on 2.5 cm kiln furniture, and the end that will be thinner 
on 5 cm kiln furniture, and then calculate the glass as if you were casting a rectilinear 
volume with a thickness of 3.75 cm.

Firing the piece
Vent the kiln at least up to 1100°F (593°C) to make certain that all of the moisture has
escaped the kiln. Plan to be present when the kiln is at casting temperature, and visually 
inspect the piece to make sure the casting is going as planned. If unwanted bubbles 
are present on the surface or just below the surface of the piece, plan to extend the hold 
at casting temperature until the bubbles have burst and healed.  Firing schedules provided
are specific to the Paragon GL24AD kilns that we use in our factory Research & 
Education department. All kilns fire differently. You may need to adjust the firing 
schedule for your specific kiln and project.  After the entire firing cycle is complete, we 
recommend leaving the piece in the kiln at room temperature for at least a day before taking 
it out to divest it.


Cleaning the finished piece
Remove the piece from the kiln and disassemble the box mold. Remember to wear an 
approved mask while handling the fired fiber paper and investment materials. Watch 
out for any sharp points if the glass has clung to the side walls of the mold.
The investment can be removed from the glass with a variety of tools, such as dental 
instruments, wooden picks, nylon brushes, and wood carving tools. Wooden 
tools are ideal for carefully removing broad areas of investment, and metal tools should 
be used delicately to clean fine details. A nylon bristle brush and forced air are also 
great tools for cleaning areas of residual investment. Most of the investment should be removed 
from the glass before submerging it in or scrubbing it with water. While water can be 
used to rinse away residual investment, we have found that scrubbing the glass with 
vinegar and/or CLR* breaks down the investment material.  Remember that you can create
a very different effect if you decide to coldwork and/or polish your piece. The optical 
qualities can change substantially, especially with coldworking on the edges.













Tuesday, July 3, 2012

Painting kiln glass, notes

This information written by Deborah Read is really good for glass painting.  If you would like to read more from her, click here to view her webpage.

Painted Beads 101

Note: the following method is only one of many that can be used. This is how "I" am using the various paints to make "my" painted beads. Follow all product safety instructions !

Black Trace Lines

I prefer a black trace line on my beads - basically painting a black outline and filling in those lines with color or mattes to give the bead color or depth. This can be accomplished in many ways, but my preference at this time is using a Reusche Trace Black powder and mixing with Squeegee Oil. There are many types of binding mediums that can be used to mix this trace powder but I use the Squeegee Oil due to the fact that there is little smell while painting and during firing. You are using an oil to give you more time to use the paints and I find the oil gives you a really nice "flow" to the paint. I am also using Reusche brushes purchased directly from Reusche.

Materials list for Trace Lines:

Brush Method Squeegee Oil (Thompson Enamels A-4)

Reusche Trace Black E-401 (Delphi Glass, Reusche direct, many sources for this)

Reusche Tracing brushes (I got from Reusche)







Another option could be the Paradise paints in powder form that is now available

Pallet Knife (for mixing), Eye Dropper (for adding Squeegee Oil) Sheet of glass (for mixing on) Turpentine (for thinning mix for painting)





Its hard to say how much paint to use - depends on how much painting you expect to do - It is easier to make more than it is to have made too much and waste it.

I take about a teaspoon of E-401 and put into a pile on the mixing glass and add squeegee oil, using an eye dropper, till it is a thick paste.





I mix using a pallet knife. Once made you can either paint or use this thick paste on stamps - I tend not to thin the paste for rubber stamps.









If I am painting I take a little turps on my brush and pull some of the paste from the main pool of paint and thin out enough that it is still dark when applied to the glass. I use a roller to apply to the stamps but again whatever works for you.



Materials List Painting:

Pen/ink method

Using the same Reusche E-401 I mix with Clove oil to a consistency that gives a solid black line when used with and ink pen nib - I am using an inexpensive ink pen and nib for fine lines. Came as a set.

You just have to get used to how to mix your paints and how to use the pen - Took a couple of times not to get big blobs of paint on the glass - but at least it wipes off.





After a while its pretty easy

Samples of the ink drawing: Easy to get fine lines





Glass

When using Morretti rod - use Morretti sheet glass (I got from Frantz) so what ever you have in flat use in Rod - Compatibility issues

Clean your glass and either stamp or paint the trace line

The best part of painting on glass is that if you make a mistake you can wipe it off.

FIRING

Fire piece - painted side up



I fire the Reusche up to 1325F but you only need to fire between 1100 and 1425 for it to adhere - so to save time you can fire above 1100 and shut off kiln - and you can cool quickly -

I am using a HOAF infrared kiln that runs on Propane and it take about 6 mins for it to get to 1325 and about 10-15 min to cool enough to grab out of the kiln for the next step.

At this point I now have a permanent trace line on my glass that will not come off. I can either continue to apply mattes (part of traditional glass painting and you should really look into classes) or I will paint with colors.

PAINTING WITH COLORS





Currently I am using Paradise Paints as they can come premixed (with Pine Oil) The only drawback is the smell - you really do need good ventilated area to use and when you fire. (To purchase go here: http://www.paradise-co.com/paints/pricing.html ) They now have powder form to mix with whatever medium you want to use. I am gong to use the squeegee oil for less smell - testing will let you know how they work out.

Another option may be using the Paradise Paints powder form in the same way - Works great with squeegee oil and or pine oil- just mix well and thick

There are Fusemaster, They have a larger color pallet than Paradise. A lot of tranparents.

Thompson and other various enamels on the market you can use or try. I would use the squeegee oil with them also - I am currently purchasing the Paradise paints in powder form so that when I finish using up the premix I will mix my own with the squeegee oil and I will not have to deal with the smell. !

PAINTING

The Paradise Paints are thick and cannot be thinned with Turps (that your using with your Reusche) they suggest not thinning or it will give a thinner and less opaque color on your glass. (But if you do thin you use Pine Oil) and they require Mineral Spirits -paint thinner, lacquer thinner or acetone for clean up - do not use these to thin the paints or any other thinner you may have used with paints. I have been using directly from the jar - thick and applying. Since you have your trace line - its like a coloring book and you fill in. Paradise also advised that if you warm the paints they will thin out in consistency but not in color opacity.

(Reverse painting)









If you make a mistake you can wipe the color away and your black trace line will still be there !

I fire these paints at 1325F also - only to be consistent - you can fire these at a lower temp to get them to adhere - you need to vent up to 500F for binders to burn off and to keep your red - red (read paint info).

I have tried putting pieces into my bead kiln and then using - bead kiln is only up to 950 but it burns off binder - makes area stinky ! so I rather get rid of the smell all at once and this way I can make a lot of pieces and torch at a later date without worry that I may scratch the paint off.

So you may choose to do a day of painting when you know you have to get up and do other things and be able to walk away knowing you can come back and resume where you left off.

Works in progress - various stages - fired - unfired - painted unfired

APPLYING TO A BEAD

Now comes the tricky part (not the hard part) the tricky part. You can put pieces into your cold kiln but I found I could introduce them to the edge of the opening and push them in - being such flat thin pieces they have not broken or shattered on being introduced to a hot kiln (mine is 950 or so) NEW HOT PLATE TECHNIQUE. I bought an industrial hot plate that goes up to 1000 degrees F and this allows me open sides and top to be able to see my painted piece and line it up better

(they must be painted side up !)



Here are options for making bead - you can either eye it or before you put piece in the kiln/hot plate or mark your mandrel for the length of the piece your applying - I have been using a permanent black marker on my bead release on the mandrel - you do not need a big mark - just enough to show where ends are. I put the pieces in the kiln on an angle so when I place the bead to stick to it I get a better angle on how to attach.

The worst part is figuring out how much glass to apply to your base bead - before you wrap your flat piece on - can be tricky but remember - if your piece is too big once you apply (and hope you get most of your design on) you can use glass shears to cut off the piece (cool huh !). I have been outlining the piece on my marver and rolling my base to see if it fits within the parameters.



Once you have your base bead made (and I try to make that base a little smaller than what is necessary so I can tuck the ends of the flat glass piece in to make a neater bead) here comes the really tricky part.

I heat up my bead to glowing but not runny and you know that the glass is going to stick to anything glass you touch - open door to kiln and touch it down on your piece to grab - you need to line up where you want to start the attachment, as it is difficult to re-center once attached - you can heat up an move but you may distort your picture.



I try to center on pic so that I have main area of pic attached to bead and work from center out applying . I did try to use tweezers but trying to open the door grab - hold onto hot bead was really a tricky balancing act this way one hand on door one hand on bead and glass.

Quickly remove from kiln and into end of flame and heat up - start from center and heat up glass (keeping bead hot but try not to have direct flame on painted side as you can burn off paint as torch is much higher than the enamel firing range)



See the black lines in face - I did not apply enough paint and I burned off in flame

Now work side to side heat up glass (working from center) and using any tool that feels good (I use my Sharon Peters razor tool) to push slowly down and work the glass onto the base bead - working from center and making the most out of the pic till the edges almost meet - here you judge if you have to trim any glass - and get the edges together - heat and melt - heat and melt keeping them from overlapping and giving a lump.

Work your bead and keep it good and hot - you need to make the outside glass one with the inside glass - marver shape and do edges - I heat ends and work till done

Get it good and hot - wait till ready for kiln and put into kiln and anneal

and you too can have too many painted beads lying around !



Sunday, July 1, 2012

Recycled glass ideas for glass artists

We didn't write this information below although we wish we did!  We can't say enough about how much we LOVE this page.  It is packed with ideas for glass artists that want to create more unique and one of a kind glass art.  To view more from the author follow the link to the Inspiration Green web page.  ENJOY!



Recycled Glass Inspiration
Much of the glass we throw out is not recycled, because different glass has different melting points and recyclers only melt the most common containers.


recycled glass bottles
recycled glass bottles
Hanging window composed of serving plates, wine bottle bottoms, stemware bottoms and faceted stained glass jewels. The background is a variety of textured handblown glass and the border is composed of several different patterns of pale lavender Depression glass serving plates. Daniel Maher Stained Glass, Somerville, MA. Restoration and custom work. www.dmstainedglass.com


recycled glass bottles
recycled glass bottles
The window is comprised of highly textured bottle, vase, serving plate and stemware bottoms along with a variety of antique pressed glass jewels and objects. The background is a variety of clear textured glasses and the border is composed of pale lavender "Depressions Glass" plates. 26" x 25", $3,000. Daniel Maher Stained Glass, Somerville, MA. Restoration and custom work. www.dmstainedglass.com


recycled glass bottle window
recycled glass bottles
This "Green Bottoms" window is installed in a home on Simmons Island, GA. To personalize the window, the client requested the inclusion of "sea glass" they found at the local beach. The addition of greenish blue plate fragments and jewels in the border give the window's color range an ocean feel. Daniel Maher Stained Glass, Somerville, MA. Restoration and custom work. www.dmstainedglass.com


recycled glass bottle window
recycled glass bottles
Several medicine bottle remnants are blended into more typical food themes in the Wellesley, Massachusetts kitchen window. The medicine bottles refer to this couples' careers in the health provider industry. The window is installed in a door that blocks the view of a brightly lit mud room. Daniel Maher Stained Glass. Restoration and custom work. Somerville, MA. www.dmstainedglass.com


recycled glass bottle window
recycled glass bottles
Luscious Lids is the second in the Housewares Graveyard series to utilize three dimensional tops of vessels and candy dishes. The prismatic and dimensional effect as the viewer moves is striking. The tips of several of the objects project more than three inches from the surface of the window. The objects include candy jar tops, percolator tops, apothecary lids and Vaseline glass lids from a dresser set. 25" x 28", $3400.www.dmstainedglass.com



recycled glass windows
recycled glass bottles
Luscious Lids close-up, from the outside.



recycled glass dishes
recycled glass dishes
Prismatic Dishes features remnants of serving dishes that have a square or rectangular shape. The cut glass beveling captures light from extreme angles and distorts any exterior movement into circular patterns. The window is set in a reclaimed wood frame. 19" x 25", $2000. Daniel Maher Stained Glass. Restoration and custom work. Somerville, MA.www.dmstainedglass.com


recycled glass windows
recycled glass dishes
The Blue window is composed of cobalt blue storage jar parts and stemware bottoms. The border is a handblown multiple color streaky glass sprinkled with faceted glass jewels. www.dmstainedglass.com


recycled glass bottle window
recycled glassware
Very Red Snapper was inspired by and is composed entirely of kitchen glassware. Wine glass and bottle bottoms, serving plates, food storage containers, percolator tops, glass bowls and a cookie jar were cannibalized for their unique patterns to enhance the design. The window is a fun twist of presenting a "food" window fabricated in food related glass objects. Daniel Maher Stained Glass. Restoration and custom work. Somerville, MA. www.dmstainedglass.com



recycled glass bottle window
recycled glass bottles 
The Housewares Graveyard was the second window of the series completely assembled with glass rescued from functional glass objects. 21" x 30", $2400.www.dmstainedglass.com


recycled glass bottle window

Recycled glass window by Don Leedy of Oregon.
brokenglass12.com




recycled glass bottle window

Recycled glass window by Don Leedy
www.oregonlive.com



recycled glass bottle window
recycled glass bottles
Old Bottles #2, 1992
Bottles, brass, 25"h x 20"w
By John Bassett, basglas.com


recycled glass bottle window
recycled glass bottles
Old Bottles #1, 1992
Bottles, brass, 24"h x 19"w
By John Bassett, basglas.com




recycled glass windows

Eyeglass Stained Glass, 'Family Tree' 1988
Glass, wood sash, eyeglasses
33"h x 34"w
By John Bassett, basglas.com



recycled glass window
recycled glass bottles 
Three Stalks, 1981
Glass, brass, 15"h x 18"w
By John Bassett basglas.com



recycled glass bottle window
recycled glass bottles
Knot Bad, 2011
Bottle glass in old sash, 18"h x 34"w x 2"
John Bassett, basglas.com



recycled glass dishes

Glass dishes attached to a window by Peggy.



recycled glass bottles

Melted glass bottles by Erwin Timmers. www.ecoglassart.com



recycled glass sculpture

Recycled glass rubberband balls and cubes by Erwin Timmers. Glass fusing is a process of layering and then putting the glass into a kiln at temperatures around 1500°F (not enough to completely melt it). www.ecoglassart.com



recycled glass sculpture

Recycled glass knot. Erwin Timmers is originally from Amsterdam, the Netherlands, and moved to California to study at the Santa Monica College for Design Arts and Architecture. In 1999 he moved to Washington DC and co-founded the Washington Glass Studio and the Washington Glass School. www.ecoglassart.com



recycled glass art
recycled glass bottles 
'Eternity' by Cindy Ann Coldiron
Kiln cast window glass, 2010.
artist-cindyann.tripod.com



recycled glass art

Shards of old glass, sardine can openers. Finny Fish by Alexander Calder. www.nga.gov



recycled glass lamps

Recycled glass lamps (note the upside down wine bottles) by Whimsical Wonders: Darla Murray and Bridget Smith via: almosteveryword.blogspot.com



glass bottle border

Glass Bottle Border at the Mano Poderosa Jardin.
Image by Dee Kincke. www.flickr.com


bottles in garden

Glass Bottle Border in garden! More pictures here: thegreenbacksgal.com



recycled glass bottles

Hanging glass bottle flower vases. Super wedding decoration idea. See:www.eatdrinkchic.com



recycled glass

"Relite" lamp shades made from recycled glass, stained glass and or, fused glass.
The glass is broken up and put in a rock tumbler and/or kiln to get the effect.
Light blubs are CFL or LED. $35 - $90. www.berriecreative.com


recycled glass lamps

'Relite' recycled glass lamp shades on reuse bases.
www.berriecreative.com



recycled glass lamps

Close-up of a Berrie 'Relite' - Love it!
www.facebook.com/berriecreative



glass bottle lamps

Glass Bottle Lamps. brillanteinteriors.blogspot.com
How to: www.instructables.com



recycled glass bottles
recycled glass bottles
Manuel Rapoport has built a house in Bariloche, Patagonia, Argentina with 100% recycled ingredients. Tin cans for roofing and siding and merged whiskey bottles as windows.www.designopatagonia.com.ar



recycled glass dish

Architectual glass individually cut and placed. Bowl and mold hand built from found objects. $400. Artist: Aaron Tafoya © 2008 ~18 x 18 in. sits on stand.www.recycledglassartdesign.com




recycled glass lamps

Recycled grape lamps. Artiquea collects and separates glass according to color; after being smashed and washed, the fragments are melted down. They blow grapes and vases, mould spiral discs and bulbous glasses... Grapes and plate lamps and more:www.artiquea.co.uk




recycled glass lamp

Recycled hanging glass lamp by Wolf Art Glass & Pottery,
Austin, Texas: www.wolfartglass.com
Etsy: $545.  www.etsy.com



recycled glass lamp

Recycled glass lamp put together with bailing wires, from Indonesia.www.overstock.com




recycled glass bottles
recycled glass bottles
Art with a Conscience. Artecnica. www.artecnicainc.com
See how-to video below.


recycled glass bottles
recycled glass bottles
Art with a Conscience. Artecnica. www.artecnicainc.com



recycled glass bottles

'Recycled Wine Bottle' Appetizer Trays  $25.00  © 2009, Aaron Tafoya will make you any custom glass item. www.recycledglassartdesign.com



recycled glass window

Pantone or Paint Chip Door - to mimic all the colors that surround in nature.
By Armin Blasbichler, www.arminblasbichler.com



recycled glass window

Beer Bottle Buddha
Wat Lan Kuat (One Million Bottle Temple) in Khn Han, Eastern Thailand.



recycled glass bottles

Angle Cabinet Institute



recycled glass bottles
recycled glass bottles
Earthdance #1, 2011
Bottle glass, red frit, 28"h x 15"
By John Bassett basglas.com



Videos:

Video showing how to make bottle cheese plates:
The bottles are carefully put in a kiln, slowly heated to temperatures around 1400 degrees, cooled, and turned into cheese boards, spoon rests, etc. www.glassbyerica.comSee the process here: www.youtube.com


Video showing how to make a Glass Cup from a bottle:
Although the video maker used a torch and electric grinder, you can do it with just a glass scorer and sandpaper. www.youtube.com


Books:

 "Sculpture and Design With Recycled Glass" by Cindy Ann Coldiron, Schiffer Books, 2011, features 40 artists and 125 sculptures in an exploration of the use of recycled glass as a medium for sculpture and creative design. www.amazon.com



Recycling glass vs making glass from scratch:


Glass recycling turns used glass products back into "new" glass products. By some estimates, recycling glass uses 40% less energy than creating new glass from silica sand, lime and soda ash. Recycled glass also creates about 20% less air pollution and 50% less water pollution.

Glass recycling is a much more efficient process than plastic recycling, since plastics are usually "downcycled" into a lower-quality form of plastic. Plastic water bottles, for example, cannot be recycled into new plastic bottles, but glass containers can be recycled indefinitely into new glass containers.

When glass is recycled, it is cleaned and separated by color. All other items, including plastic and metal caps, are also removed. Recycled glass is then crushed into a mixture called cullet, which is then sold back to glass manufacturing facilities.
  • Recycling glass:
    Saves raw materials - Over a ton of natural resources are conserved for every ton of glass recycled. Cuts CO2 emissions - For every six tons of recycled container glass used, a ton of carbon dioxide, a greenhouse gas, is reduced. From: gpi.org


Glass that is not recyclable:

Window glass, mirrors, glass cups or tumblers, ceramic, Pyrex, colored glass (other than green and the amber that beer bottles usually are), light bulbs (hardware stores may take light bulbs), windows and windshields, aren't generally accepted by  local recycling centers. That's because these different glass products have a different melting point from container glass, so that your local recycling center may not recycle them. Yet, some recycling centers send their glass to cement producers, where the glass is crushed and used as filler in cement products. One needs to contact one's local recycling center to find out what kind of glass it recycles.


 
For more see the Glass Bottle Walls Page:  inspirationgreen.com/glassbottlewalls

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