I am fusing small pieces of glass with frit, and I just want to tack on the frit-so it still has it's texture. I also want to keep the slump shape of the glass which is bent, so I am thinking do the normal fuse and slump and then do a short third firing this time with the frit added...how high do you think I would need to go? I was think ing maybe somewhere between 700-900F?
Any input is appreciated, thanks.
Sarah
fusing frit for texture
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Barbara Muth
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Sarah, at 900 degrees F you won't get a tack fuse. That happens at a higher temp than the slump. Check some of your glass manufacturers temps for your glass, and adjust them to the way your kiln fires.
If this were my project I would be doing the full fuse around 1430, then doing the tack fuse around 1315 and then finally a long slow slump around 1200.
good luck!
Barbara
If this were my project I would be doing the full fuse around 1430, then doing the tack fuse around 1315 and then finally a long slow slump around 1200.
good luck!
Barbara
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The Hobbyist
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Try to slump and tack at once
Sarah,
I very often slump and tack fuse on the same firing. I guess it's not supposed to work but I don't know any better and the pieces come out fine.
Pretend you don't know and try it.......................Jim
I very often slump and tack fuse on the same firing. I guess it's not supposed to work but I don't know any better and the pieces come out fine.
Pretend you don't know and try it.......................Jim
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Thanks for the replies, they help. (ok..I should of known better than to suggest 900 
) I'm a bit concerned that the frit will flow to much when I fuse and then slump.... I haven't worked much with frit.
And Jim...your advise is golden, it's my motto for the weekend
Sarah
) I'm a bit concerned that the frit will flow to much when I fuse and then slump.... I haven't worked much with frit. And Jim...your advise is golden, it's my motto for the weekend
Sarah
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Lani McGregor
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The Hobbyist
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Test tiles
Sarah,
Lani's advice about starting now and building a library of test tiles is excellent. I have seen the set on the wall at BE Connection. Vitrum studio also has an outstanding set and Bob Leatherbarrow shared part of his set with us when I was there for his class.
They all have various sizes frit, srtingers, and chips arranged on a convenient sized blank. You compose a bunch of these and then fire each to a set temperature (write it right on the tile). When finished you have this fantastic reference where you can see what temperature it takes to get the effect you're after.
The downside is that it takes a while to make the tiles when you could be playing instead. That's why I haven't made my set yet.
Maybe someone can post pictures or I will if/when I ever get to it.
G'pa Jim
Lani's advice about starting now and building a library of test tiles is excellent. I have seen the set on the wall at BE Connection. Vitrum studio also has an outstanding set and Bob Leatherbarrow shared part of his set with us when I was there for his class.
They all have various sizes frit, srtingers, and chips arranged on a convenient sized blank. You compose a bunch of these and then fire each to a set temperature (write it right on the tile). When finished you have this fantastic reference where you can see what temperature it takes to get the effect you're after.
The downside is that it takes a while to make the tiles when you could be playing instead. That's why I haven't made my set yet.
Maybe someone can post pictures or I will if/when I ever get to it.
G'pa Jim
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jim simmons
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Re: fusing frit for texture
What I do when I want to slump with frit texture is go to1270 and hold for 30 min or so to get a tack fuse and then go to 1380 for 10 min. in the slumping mold.SarahM. wrote:I am fusing small pieces of glass with frit, and I just want to tack on the frit-so it still has it's texture. I also want to keep the slump shape of the glass which is bent, so I am thinking do the normal fuse and slump and then do a short third firing this time with the frit added...how high do you think I would need to go? I was think ing maybe somewhere between 700-900F?
Any input is appreciated, thanks.
Sarah
TheotherJim
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Stuart Clayman
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I first saw a set of sample tiles via a traveling show by Bullseye. From there I started setting up a set for myself when I saw an article in Glass craftsman Issue 169 Dec/Jan 2002 about doing the same thing.
As for slumping and tacking at the same time... Jim's thought about doing the tack and slump works, it works better with longer hold times and smaller sized frit, and less layering of the frit. The idea is the longer and smaller the longer each piece has to get hotter. So, in this case, it is not just size, it is also length that matters.
Stuart
As for slumping and tacking at the same time... Jim's thought about doing the tack and slump works, it works better with longer hold times and smaller sized frit, and less layering of the frit. The idea is the longer and smaller the longer each piece has to get hotter. So, in this case, it is not just size, it is also length that matters.
Stuart
frit
Thanks for the excellent advice everyone, something that seems so simple to do, has me stumped! Doing sample test tiles is a really good idea...and taking the time to do them will pay off I'm sure, and the knowledge will come in handy for future (and bigger and better projects) reference. Also, all the feedback gives me some ideas on how to go about this.
Big thanks!!!!!!!!!!!!!!
Sarah
Big thanks!!!!!!!!!!!!!!
Sarah
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Nikki ONeill
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Judy: The following is an assignment that Beth and I gave ourselves a couple of weeks ago. In a more anal moment, I wrote it up like an experiment, referencing information from Judy Conway's article and notes from Bob's class. Hope it's useful!
Nikki
Project: Effect of temperature on the degree of melting of glass elements onto a base glass
References:
“The Act of Fusing. Balancing Heat, Time and Temperature.â€
Nikki
Project: Effect of temperature on the degree of melting of glass elements onto a base glass
References:
“The Act of Fusing. Balancing Heat, Time and Temperature.â€
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Nikki ONeill
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Oops: I meant to address that to Sarah.
A workshop you might want to look into is one by Roger Thomas. He has you make dozens of technique sample tiles that for many of us in the class became the basis for a glass reference library. You just have to remember to put lables on the back to remember how you did them
Nikki
A workshop you might want to look into is one by Roger Thomas. He has you make dozens of technique sample tiles that for many of us in the class became the basis for a glass reference library. You just have to remember to put lables on the back to remember how you did them
Nikki
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Bob
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Sarah,
Nikki's studio is anything but that of a mad scientist's lab. Had the pleasure of visiting it in May. Nikki's approach to glass and her work does reflect her training as an accomplished research scientist.... an excellent asset for working with warm glass. As we walked through her studio she would pick up pieces that were experiments, or were in progress. Each one was fantastic. Although Nikki is focussed on the aesthetics of her work, she always had a technical fact that was intriguing. Her collection of her faithful reproductions of Tiffany lampshades is to die for. And then there is the quiet serene setting of the house on a huge treed lot.... inspiration should come easily ... beats my cement walls.
Nikki is anything but a mad scientist... a little bit crazy about glass ... but then aren't we all.
Cheers,
Bob
Nikki's studio is anything but that of a mad scientist's lab. Had the pleasure of visiting it in May. Nikki's approach to glass and her work does reflect her training as an accomplished research scientist.... an excellent asset for working with warm glass. As we walked through her studio she would pick up pieces that were experiments, or were in progress. Each one was fantastic. Although Nikki is focussed on the aesthetics of her work, she always had a technical fact that was intriguing. Her collection of her faithful reproductions of Tiffany lampshades is to die for. And then there is the quiet serene setting of the house on a huge treed lot.... inspiration should come easily ... beats my cement walls.
Nikki is anything but a mad scientist... a little bit crazy about glass ... but then aren't we all.
Cheers,
Bob
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Bob
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Lani referred to making test tiles and others in this thread have referred to the set at Vitrum, mine and Roger Thomas'. I started my collection of tiles after taking a workshop at Bullseye last summer. Many of them are direct copies (dare I say rip-offs) of ones that are part of the Bullseye collection. They have been a great reference and teaching tool, I constanty revist them to check for chemical reactions, relative melting temperatures, and the amount of heat/time needed for particular textures. I keep mine in a CD case which makes it handy for storage and transportation.
The tiles are well worth the time and effort. They pay back for themselves in better firings through knowing your kiln and the glass.
Cheers,
Bob
The tiles are well worth the time and effort. They pay back for themselves in better firings through knowing your kiln and the glass.
Cheers,
Bob
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Cynthia
There are so many people on this board with different approaches to how they go about their work. I would love to spend a week working side by side in the studio with the likes of Nikki, Bob,, Judith and others...You could learn so much just sharing time and watching their methods to how they compose, or their techniques.
The suggestion for a Roger Thomas Class is excellent. He will show you a gazillion ways to make kiln fired glass, and open the doors to many possible ways to make glass to include in your work. He is one of the few instructors who I've learned from who taught me more than just a bunch of techniques (which aren't bad, but there's so much more) He showed me ways to think about all of the possibilities.
I wish I had endless funds and I'd take more from Roger Thomas and his tile boot camp, and a Bob Leatherbarrow workshop, add a little Steve Klein...there's just so much to learn from the different folks doing this work...throw in a few sessions here and there at Pilchuck...
If wishes were horses...
The suggestion for a Roger Thomas Class is excellent. He will show you a gazillion ways to make kiln fired glass, and open the doors to many possible ways to make glass to include in your work. He is one of the few instructors who I've learned from who taught me more than just a bunch of techniques (which aren't bad, but there's so much more) He showed me ways to think about all of the possibilities.
I wish I had endless funds and I'd take more from Roger Thomas and his tile boot camp, and a Bob Leatherbarrow workshop, add a little Steve Klein...there's just so much to learn from the different folks doing this work...throw in a few sessions here and there at Pilchuck...
If wishes were horses...
frit tiles
Great advice from all of you and I'm going to start a collection.Bob wrote:Lani referred to making test tiles and others in this thread have referred to the set at Vitrum, mine and Roger Thomas'. I started my collection of tiles after taking a workshop at Bullseye last summer. Many of them are direct copies (dare I say rip-offs) of ones that are part of the Bullseye collection. They have been a great reference and teaching tool, I constanty revist them to check for chemical reactions, relative melting temperatures, and the amount of heat/time needed for particular textures. I keep mine in a CD case which makes it handy for storage and transportation.
The tiles are well worth the time and effort. They pay back for themselves in better firings through knowing your kiln and the glass.
Cheers,
Bob
This is a good time to say what's been on my mind: the more I work with frit and powder the deeper my respect for the work created by Bob, Catharine, Roger Thomas, Vitrum (I'm sure there are many more) You all inspire me - and it is apparent how much thought & hard work it takes to achieve a look that's yours. I can see where the tile collection must be invaluable!
Thanks for yet another great tip!
Jo