Missy, could you please expound on some safety details for your readers.  I think safety is a very important detail when working with all types and styles of glass art.   I think that even Wisker would like to learn what steps you take to insure you are safe while working in your studio!

Bear, that is a very good idea!  I only touched the tip of the surface as far as safety goes!  I don't really know where to begin.   When lampworking,  glass bead makers use Didymium safety glasses, and other glasses specifically designed for lampworkers.   These glasses are sodium flare (yellow) filters.  They remove the yellow flare seen in the torch flame that happens when the flame hits metals or glass.  It allows lampworkers to see their work better.  Unfortunately didymium doesn't filter infra red to a great extent.   So that means that didymium lenses do not work well for people using kilns and furnaces, they need special safety glasses specifically developed for that type of work.  It is important for all glass workers to wear glasses when working with glass.  Even when making glass mosaics and stained glass, it is necessary to wear glasses to protect your eyes from any type of glass damage, this includes protection from flying glass shards!

IR damage is cumulative and affects people differently.  But long term exposure to IR leads to retinal burns and corneal irritations, and eventually cataracts.  Also sun glasses should not be used for any reason, they do not protect they eyes from IR.

Other safety concerns include, fire safety.  A fire extinguisher should be kept in the work area and it should be checked and maintained to insure it is in working condition.  Plus you should know how to use it before an emergency develops. 

Air safety is also very important.  The work area should be well ventilated.  I have large overhead doors that I open to vent my work area when I am using my kiln and/or using my torch.  There are toxic fumes created when using these tools.  Many people install exhaust systems in their work areas which are necessary when working in a small work area.  Also when using frit (ground up glass) it is advised to use particle masks to prevent inhalation.  These small particles of glass can become air born and inhaled!

When working with glass, don't forget to wear appropriate clothing.  Do not wear sandals!  Also if working with hot glass glass, wear long pants.  If you have long hair, you should keep it under control, somehow.  When lampworking wear sleeves that are not "flowing" which could possibly catch on fire!

Most stained glass stores and hot glass stores sell excellent safety supplies.  It is good to check online occasionally to see what new inventions are available as far as safety goes!  Safety is important and should never be overlooked or cut because of the added expense.

Lampworking, in the beginning....

, oxygen concentrator, propane, safety, stringer, torch

So today I thought I'd post a picture of my lampworking area - for fun.  As you can see, it is pretty messy.  I usually keep the glass rods that I am currently using, right in front of me on my work bench.  This isn't always the best thing to do, occasionally a piece of hot glass will pop off a glass rod that I'm using and "stick" on a cold rod sitting in front of me.   

My torch is a Nortel Minor Burner, as you can see in the picture.  I use propane and an oxygen concentrator for fuel.  There are many different types of torches and a few different types of fuels.  Next week I'll blog about some torches available for lampworkers.  

I also like to use frit (ground up chunks of glass) and I keep it close to me on my bench.  I don't have a graphite torch marver attached to my torch, something a lot of glass artists use.  But I do have a piece of graphite next to my torch.  And I use it for a lot of things, like putting frit on it.  

I have a metal work surface laying on my workbench for safety.  I have a lot of small burns around my workbench where hot glass has scorched the work surface.  The metal work surface is laying in the area where most of my hot glass flies when it "pops" off a rod,  which occasionally happens to me.

Also for anyone reading this blog that has no idea how people make glass beads, the glass rod is what most lampworkers use to make beads.  Some people do use thin strips of other glass, like stained glass to make beads.  I haven't ever tried doing it that way even though I have a lot of stained glass.  Glass rod can be purchased in various sizes, the larger diameter rod is the hardest for me to use.  Also very thin glass pieces, which we call stringer can be pulled from the tip of a molten glass rod by using tweezers or pliers--or stringer can be bought.  Stringer is then used by lampworkers to decorate glass beads with dots and lines.  Some glass rods melt easier than others too, but easier melting glass isn't always good!  It can be difficult to work with.  Plus, I have found that certain colors melt easier than other colors!   

Basically a lampworker gradually heats up the glass rod in the flame of the torch, until it is molten, and from there they begin to create a bead by wrapping the glass around a mandrel (something else I will explain later)!  P.S.  I am totally self taught.  I have learned all I know about making beads from reading books and researching online.

This wonderful video is showing how to make lampwork glass door knobs and a ring.  The artist used boro glass to make these.

Lampworking Kiln Critiques

OK Bear, I think you need to give readers a little more kiln information so that they understand what you are talking about!  You think you know it all but...  I don't think so.  

I've been doing some looking around on the internet and I found a lot of  basic kiln critiques, made by kiln owners,  that you didn't mention or even suggest.   This information could be helpful to lampworkers who are thinking about purchasing a kiln.  Hmmmm, I'm wondering what you are doing, Bear?  I guess it just proves that you can put lipstick on a dog, but you'll still get a dog!  

Below are some postings I've found that might be useful for lampworkers.  I'm still working on finding good information on fusing kilns.

"Check into the Skutt GM-10 with a bead door. I've had mine for about 5 years and still think it's great. It has enough flexibility to allow for you to take on new stuff as your glass addiction tackes hold and you want to expand your range."

"I love my Blue Bird.  I also have a jen-ken for fusing. I'd recommend either one!"

"I have the Skutt bead kiln and I love it. It's easy to program and it hasn't had any problems in the 7 years I've had it. I bought it for fusing because it works on 110 and I knew I'd dabble in lampwork (little did I know...). Because it's firebrick, I just turn it off after annealing, rather than ramping down when I make small beads."

"I want to purchase another kiln for bead making. I already have a Jen Ken and after 1 1/2 years I already need a new part. Thank goodness it is covered under warranty."

"If I could do it all over again or get a second kiln, I'd be all over the Glass Hive Wide Guy. I'd sell my Skutt to get it, but the hassle of the sale and shipping is a great deterrent."

"Why the Wide Guy, you ask? Because it's wide and the volume of beads that can be made/annealed at one time would be such a huge plus for me. My Skutt is a greatkiln, but the interior is small-ish for lampworking. Something I just didn't think about when I was researching kilns. My time gets sucked away so easily that when I have a chunk of torch time, I want to make the most of it. The Wide Guy would allow me that freedom to torch for so much longer and make the most of my time. Okay, I have to go look at the pictures of it again *Sigh*"

"Take a look at the Arrow Springs kilns. I have never had one have a failing part and I've been using mine since 1994 (or was it '95?) They are meticulously constructed by someone whose business is beadmakers and they care about what they sell to us."

"I am a Crowley kiln convert. I just love the tall double doors and ease of use."

"I would save up until you can get one with that is brick lined. I just learned how to fuse and also do PMC. I have a chili pepper and I can't use it to fuse or do PMC."

"Many that have an AIM 84BD are pleased with its versatility in being able to anneal beads or do small fusing/slumping projects."

"... for lampworking, I got the Paragon SC2 kiln with bead door and love it. I have a kiln shelf to do quick fuses of small things (trial pendants) and PMC - it can do enameling and small ceramics but I haven't gotten into that yet."

"I LOVE Paragon! I currently have the Bluebird and had the Caldera. They're both great kilns and the Caldera can do fusing and ceramics in addition to bead annealing."

"Digital controllers are expensive and there's more different value in makes of controllers than in makes of kilns. All kilns are basically the same - a brick box with big heating elements. Any difference in value would be in extra features provided - not in different makes. Personal preference between makes of kilns is like personal preference between Chev or Ford. The best kiln to buy is usually the one that costs the least or provides the features that provide the most benefits.

When selecting a kiln, you should pay attention to the size, the features, and the cost. Make is irrelevant. Make a list of what you want, then shop for the cheapestkiln that satisfies your wants.

Having a controller is valuable but not essential. If you're on a tight budget, you can start with a kiln using a pyrometer and add a controller later."

Lampwork kiln

Hey Carol, after reading your COE post yesterday, I think you need to show readers what a kiln looks like.  A lot of people have no idea what you are talking about and need some more information!  I hope you don't intend to use your own kiln pictures, your work area looks like a tornado hit it.

 Thanks Bear for that excellent suggestion!   Unfortunately I only have pictures of my own studio.   And I must admit, it does look like a tornado hit my work area.  But that's because I actually work there!   The top picture is a view of my kiln from the side.  The bottom picture shows the bead door open with some of my beads sitting inside the kiln on my bead holder.

Above are pictures of my "small" kiln.  It is a Skutt kiln that has a bead door on it.  I also have a regular door which I can use when fusing small items.  I like to use the regular door on the kiln for fusing so that way I can control the temperature of the kiln easily.  When the bead door is on the kiln, there is a slight gap around where the small bead opening closes.  A bead door is essential if this kiln is going to be used for lampworking.  Lampworking is just another name for beadmaking, if you are confused.

There are a few kilns made specifically for lampworking.  I owned my kiln before I began lampworking.  If a glass artist wants to use a kiln for more than just lampworking, I suggest they purchase a kiln more like the one I own.  

I have heard about kilns, (or a kiln pot),  that can be used in a microwave oven!  Unfortunately I have also heard that they are difficult to use.  Plus it is advised to use that microwave only for glass and not food, too!  I think it would be a better investment to purchase a regular kiln as opposed to the microwave varieties.                                                                                                                                                                  

Bear and Wisker introductions

Hello, I'd like to introduce myself!  My name is Bear.   I have been asked by Harrach Glass to assist occasionally by providing my professional  opinions, art information and helpful glass tips and hints.  I am Harrach Glass' best friend and companion.

P.S.  Don't listen to the cat,  she's just around to annoy me.

  

Well,  let me warn you about that "supposed" art critic Bear!  She thinks she's the big boss around here, but she's  sadly mistaken.   One swat from my paw and I'll show her who's boss.

My name is Wisker, I am the one you should pay attention to in this blog.  I've been around long enough and have seen enough glass to know everything there is to know about the subject.  So, when and I feel like giving my opinion, you should pay attention.   Until needed I'll be laying here in my bed in the sun sleeping.  Besides, I look much smarter than that dog in those pretentious glasses.






Update: Unfortunately Bear passed away last year.  And because of that, I decided not to use her (or Wisker ) in my blog after Bear's death.  She was an amazing dog and is sadly missed.  Newfoundlands are an amazing breed.

Adventures in COE's???

I took this picture to show  how I keep my glass rod organized.  The glass rod is what I use to make my lampwork beads.  The round white things you see in this picture are pieces of PVC pipe.  It works great for holding glass rods!  I used a hacksaw and cut the pipes into lengths long enough to hold the rods.  I also pull the glass out of the pipe a little bit so that I can see the color of the rod easily.

I try to keep my glass organized.  It doesn't always work.  I use a few different types of glass, including glass that has different COE's.   COE is very a very important part of working with hot glass.  It means,  Coefficient of Expansion.  The lower the COE, the harder the glass and the higher the temperature is needed for it to begin melting.  

When melting glasses together, either when fusing or lampworking, it is very important to make sure that the glasses used are compatible.  That means that the glasses should have the same COE.  The term COE basically means, how fast or how slow the glass heats up and cools down. That means, if you accidentally used glasses with different COE's it is very possible that when the piece cools down in a kiln, it will develop stress cracks which will inevitably break the finished piece.  That happens because the pieces are not cooling down at the same rate!  And unfortunately, that will produce cracks.  

When buying sheet glass,  many companies will put labels on their glass stating the COE.  When buying sheet glass that is not marked, a sample fuse is very important to test compatibility before creating a project.  Usually sheets of glass made by the same manufacturer are not even compatible!   Many manufacturers make sheet glass specifically for fusing, and it is these sheets of glass that are marked with COE's.  COE's are shown as numbers, just keep the numbers together and you'll be ok!

There are also a few different types of glass rod for lampworking.  It is important to use compatible glass rod too!   There are also two distinct types of glass rod, soft glass and (borosilicate) boro glass. Never mix soft glass and boro glass.  Soft glass rod comes in a few different COE's and they should not be mixed either!  Although,  it is possible to mix small amounts of soft glass that doesn't have the same COE's but it should not be too much, or there is the usual possibility of the piece breaking!

Below is a sample of a Bullseye COE label that you'd find on a sheet of their fusing glass.