WarmGlass.com

That said, it sounds like you thermal shocked your piece while it was heating up. (There's your speeding ticket. Artistic license, please 8) ) Did you open the lid to peek in at that point? If you did, that might have contributed to the shocking. Generally speaking, (and I'm sure plenty of people h...

Bruce, I never place my molds on my shelves when firing. I just set them up, perched on kiln furniture, on the bottom of my kiln. Regarding the one inch between mold and side elements, I suspect baffling is what will besuggested to you. At ther very least I would go very very slowly when I ramped up...

Whenever a client tells me they want 'magnolias and pelicans' I ask how many? Why? Because I am glad to sell things that are uniquely designed and carefully made. When I bring the 'm&p's', I also bring finer work to showcase my design talents. Selling work and making some profit so I can contin...

Jim, I have a thought about breaking up the monotony of the brown. I tackled a similar problem on a piece I made last spring. I had a vast expanse of an opaque olive colored curious glass and it was just too flat. I took some transparent green powder (may have been aventurine) and swooshed it over t...

Lydia, You can slump that back flat. It might has shrunk some but probally not. Question... is what you are calling a crack really a crack or an air bubble? Going to full fuse temp will not get rid of it, if it is an air bubble. If it is a crack, which I doubt that looking in a kiln for a moment wo...

I am going to guess that you haven't used fiber paper yet. If you don't rigidize it, it will fall apart. My guess is that even around a wire base, you are going to egt some slumping through the wires. But try it, you could get something very interesting happening!


Barbara

Dying for mine too! I have actually been watching the mailbox!
Silly me.

Barbara

Just in case you didn't realise this, you don't have to drop into a saucer. Just kilnwash your shelf, calculate how much glass can drop, go to 1/4 inch thick and not flow over the shelf, use no more than that, and do the pot drop. With a kiln that big, you should be able to get a nice sized pot drop...

Ian, if you are using BE glass, they have posters with examples of color interactions. I routinely mix some of their greens and yellows for wonderful rich brown shades. I recommend testing colors together before firing them in a potmelt. If you see a line of another color where the two meet in your ...

Jerry, I like the pot melts a lot. These have very interesting character, the combination of colors and movement without mud are certainly a technical achievement. I also like the way you have framed them with rings of color. Can I ask why you put them in stands as opposed to hanging them on the wal...

I am using a Paragon small SC-2 kiln 7" x 7" shelf, computer controlled. I have many times in the past take a base coat of black maybe 6" x 6" load it up with scraps of dichroic and clear glass, fuse to a slab then cut it into pendants etc. I fused a slab pulled it out decided t...

This has been an interesting thread to read. I find it awkward looking at work that could benefit from critique on design and execution when it is clearly posted in the "put it on the fridge" vein. I find myself wanting to email them and make suggestions, but they aren't asking for that. B...

Meanwhile your piece entitled "Nurturing the Fantasy" is a great example of inspiration.

Barbara

and make sure the kiln wash is bone dry before you put your piece on the shelf. I find that this type of bubbling is most likely to happen when I fire on an undried shelf (yes I do it at times!) or when the piece being fired is very large. If you can't find uneven spots on your shelf that would defi...

This week at work I received an email with the from address being our IS deartment. They routinely quarantine all email coming in with viruses attached. This email told me that it was now safe to open the attached document (an .exe file from someone I don't know). For some crazy reason I checked wit...

I know this will sound weird, but I design the way I pack a suitcase. Before going on a trip I make about ten different packing lists, arranging and rearranging in my head what I will take with me. By the time I actually pack, I don’t use the list at all; it has become part of me. Process: The lar...

<snip> Incidentally, the images are not digitals. <snip> This leads to a related question. Should technique impact value (price)? Creating a darkroom composite is a more difficult thing than doing it in Photoshop. If two techniques yield indecernable results then should/could the artist price the w...

Nope, I guess that didn't work. Well anyway, I was trying to describe a blank with a central square sitting on top of mold, with four trapezoids extending out from the four edges of the square so that those four trapezoids would slump down against the sides of the mold. The central square section w...

And I can't see the slump happening with all four sides and the bottom. If you slump an open (baseless) pyramid from the top down, all four sides are triangles projecting from the apex. in other words you have a maltese cross sitting on a point (the top of the pyramid) and you want the four sides to...

Lisa, it's wonderful. The stand really works well with the piece. Congratulations. I would be very pleased with myself if I were you!

Barbara