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Ok, so here is another thought... I also ordered a window which is 1" by 3". I was wondering if this also had the potential of creating a cold spot? Anything that alters the structure of the kiln is probably going to change the kiln's thermal characteristics in some way. The real question...

I did A LOT of research based on what information was available on the web. I am a potter so I am familiar with kilns. I also had classes in fusing, stained glass and glassblowing so I am not exactly naive when it comes to glass. I ordered from Paragon because I know the high quality of their kilns...

Every kiln has different firing characteristics, bead door or not--you simply adjust your process to accommodate. I don't think Paragon did anything wrong here. They are a reputable company, but they do expect people who order their kilns to do some research before ordering so they understand what t...

Cynthia, actually, you can take pictures of people and use them without their permission... if they are in a place that does not have the expectation of privacy, which usually means a public place. Most publications require a signed release of any recognizable person because they don't want to have...

Sorta. You can take pictures of a building, generally, because it's a public space, and anything of the building that you can see from a public vantage point is fair game. Unless the interior is a public space, however, your ability to take images inside and sell them without the owner's permission ...

Since I make my molds in layers, and hand-build them, I have an entirely different method (although I use Peter's when I'm box casting). But when you start making molds, always grease up a margarine tub or takeout tray and keep it at your plaster station. If you mix too much plaster, pour off the ex...

Wonderful. Are you ever going to line them all up in a gallery and show them? It would be a stunning collection.

Question, though: Are you trying to protect the photographs you've taken, the art you make with them, or the fact that you're using them to make art in a certain way?

There are a lot of shades in your image, so the fastest and easiest way to obtain this is probably with enamels/Glassline/etc. However, if you layer and blend powders you can pretty much dial in exactly the colors you want (that's the essence of pate de verre--I think I'm up to 7,300 different color...

I have lived on the Big Island for over 40 years and rarely buy fruit that can be grown (Papaya being one of them) Uhm...what other kind of fruit is there? ;-) Mangoes, figs, tangerines, oranges, bananas, also apple bananas, lychees, sapote, egg fruit, oh yes - pineapple... The whole fresh-pineappl...

And you're putting all of this into a hollow core door? The ones I'm familiar with would essentially need to be reconstructed--i.e., you'll have to insert bracing around the window, inside the door and out to the edges, to support the glass. I once tried inserting a panel in one of those doors, and ...

Barry Gitelson wrote:I have lived on the Big Island for over 40 years and rarely buy fruit that can be grown (Papaya being one of them)

Uhm...what other kind of fruit is there?

It really does depend on what you're shooting. In general, lighting is the most important part of photographing glass--you want to play up shadows to get a sense of shape, and vary the background so to show transparency. Most vessels are shot slightly above the lip and to the side because it shows t...

The only times I've had a mullite shelf break are when I've had a casting mold sitting directly on the shelf instead of raised up so that air moved between the mold and the shelf, as Arnold mentioned. It usually doesn't happen the first time (unless it's a big, honkin' mold), so I suspect the shelf ...

As Lauri said...Thermal shock breaks are usually long, lazy "s" shapes, generally with a hook at once end.The idea that sharp edges mean it couldn't have broken on the way up in a slump is actually a myth. Most slumping schedules don't give the glass enough heatwork to round over the edges...

I don't know if a hold is any worse on relays than a ramp up or down. The guys who fix/replace my controllers are usually more concerned about long schedules used in casting, which can wear out mechanical relays amazingly quickly.

I'd like to say I'm even more religious about not contaminating jars as you. I'd LIKE to say that...it would be a lie. But I think you're a bit into overkill... ;-) When I started out, I followed the Bullseye class model--you scoop out as much frit as you're going to need from the jar, into a little...

I think Brock's right. Long time ago (maybe 8,9 years) I tried it, with uneven results. I was just grinding the edges to a fairly acute angle, and joining them. It worked but I'd frequently get gaps in some part of the line and assumed it was because my angle was off and/or I'd removed too much glas...

I'd use a standard full fuse schedule, but go fairly slowly on the upramp, probably 200dph up to the full-flat fuse, and hold for 15-20 minutes, then take it down. That'll flatten it pretty well. I'm a little concerned, though, that the crack is so absolutely perfect along that color line. Do you ha...

I have a sneaking suspicion that the sheetrock would collapse as soon as its paper had burned off (and it might be a little coarse for fine detail work)...but it certainly doesn't hurt to try!