WarmGlass.com

Is there a name for a process that uses frit on a base sheet of glass to get a color that you want to use in a piece? I want to look up firing schedules/color combos/etc. but don't know if it has a specific name. I was thinking of making frit balls and putting them in a pattern on some glass and firing them into the sheet. Then using that sheet in a piece of work. I was also considering sprinkling frit powder over a neutral base sheet and firing. Any direction on this is very welcomed.

Thank you. KaCe

That's why the frit is sold. That's what people do. 'Painting with light' is the appropriated marketing phrase. There are courses galore. And some pretty good bulletin boards.

Thank you, Don. I know people paint with frit. I know that people make patterns with it. I just wasn't sure what a single sheet of glass with frit on it was called if the purpose was merely to change the color/pattern for future work. Thank you. Could you tell me if I'm using 3mm sheet glass should I just tac fuse it, or will that hot still shrink the glass up to thicker glass? Or am I all wet? Should I be thinking of 6mm thick glass and not try to make thinner sheets? Hmm, I had never thought of the issue of keep a sheet thin before.

Since my daughter's brain cancer is over I can now actually work on glass. I had so many false starts prior to this year. I am excited to actually be making work. I only wish that the wonderful class I took from Avery was just a few months ago, instead of years ago. <shrug> Oh, well, onward!

KaCe

Yup. It's not hard to do and it gets you exactly what you want. It's also called making "part sheets," and it's an extremely useful technique. My mom wanted glass with a friend's favorite colors when she was making her a Christmas present, so we did exactly that:
http://www.morganica.com/bloggery/2006/ ... own-glass/

About the only caveat I'd add is that when you're working with single sheets (i.e., only 2-3mm thick), you need to control the amount of heatwork you're putting into the glass a bit more than with 6mm-plus layups, to avoid thinning it out too much and/or causing holes. And even then, a single-layer, full-fused sheet will dogbone a bit (i.e., pull in at the center edges) and lip (form a slightly thickened, rounded-over edge).

I get around that by making the part sheet at least an inch bigger, both ways, than the finished size I'll need. Then I simply trim off the distorted areas.

I think, if you're a Bullseye video subscriber, there's a tutorial on how this is done.

Cynthia,
Yes, I am a subscriber. So I'll look up "part sheets". Thank you for the link and the advise. I have set an ambitious goal of having 8 piece for a series done by the end of May. I was just approached about donating to an auction. I'm not quite sure how I feel about that. As the donated pieces won't put money in my pocket, but it will get my work seen, but then pricing is a question too. I think I'll take this aspect to a different topic area.

You are always so spot-on with your advise. Thank you. Oh, I did get squared away with Dawn detergent and boraxo cleanser. My devit is less and less, but I had to fire one piece five times... I had to sandblast it four times to remove devit, a thumbprint and some soapy scum from under frit balls. I will trod much more carefully when cleaning my work now that I've had to work so hard to correct my errors.

Thanks again..
KaCe

KaCe wrote:Thank you, Don. I know people paint with frit. I know that people make patterns with it. I just wasn't sure what a single sheet of glass with frit on it was called if the purpose was merely to change the color/pattern for future work. Thank you. Could you tell me if I'm using 3mm sheet glass should I just tac fuse it, or will that hot still shrink the glass up to thicker glass? Or am I all wet? Should I be thinking of 6mm thick glass and not try to make thinner sheets? Hmm, I had never thought of the issue of keep a sheet thin before.

Since my daughter's brain cancer is over I can now actually work on glass. I had so many false starts prior to this year. I am excited to actually be making work. I only wish that the wonderful class I took from Avery was just a few months ago, instead of years ago. <shrug> Oh, well, onward!

KaCe

I see now. I oversimplified your question. Sorry.
'Part Sheets'...haven't heard that term. Kind of pedestrian. Needs a French touch I think.

Don Burt wrote:
I see now. I oversimplified your question. Sorry.
'Part Sheets'...haven't heard that term. Kind of pedestrian. Needs a French touch I think.

Sheeetz du partay?

There you have it. That's a proper technique name. I'll use it. I plan to be an Emerging Artist one day.

Your repartee makes me smile...
Joyce

Thank you for the replies. Do people put down thin fire and then sprinkle on the frit while on a work table? In the kiln? Is it important to keep it steady and work in the kiln on thin fire? What about any small amounts of powder that may stray if working in a kiln? Just trying to understand the best practices aspect of this technique.

I'd hate to have powder in my kiln and do damage then be told that one does it out side the kiln; or visa versa. Thank you for the help and the reply, Don. I, too, hope to emerge one day at the end of this journey and be an artist.

KaCe

I think I responded with this in the blogpost, but...We just set the sheet up on cups (so that it's easier to lift by the edges), on top of a sheet of newspaper on the worktable. If you want to save the frit, use a stack of newsprint, then after every application, lift off the work, roll up the sheet and slide the frit back into the jar. Then replace the cups/glass sheet on a fresh piece of newsprint, and do it again.

Typically, though, I don't go to that much trouble.

I don't like sifting frit on in the kiln, on thinfire or anything else, unless I'm only working in the center of the piece. If you sift in place and get beyond the sheet, it'll stick to the edges and often make sharp points that must be knocked off. Not a huge problem if you're cutting it up, but it's still a nuisance.

Working outside your kiln, you could set up an uncoated silk screen frame and 'squeegee' on layers of colors until your desired color is achieved.

Valerie Adams wrote:Working outside your kiln, you could set up an uncoated silk screen frame and 'squeegee' on layers of colors until your desired color is achieved.

Where do you buy your uncoated screens - someone gave me a name of a company but they only do wholesale - I would not be buying enough to establish a wholesale purchase of screens. Someone told me 130 mesh is what I should be looking for.

Terry, I buy from a wholesale supplier. But you can get 18x20 screens at places like Michael's that will work fairly well. Or, check with a t-shirt screen printer in the city, and ask if they have any; they'll usually sell a single.

Dick Blick on Market St. should have speedball prestretched frames and fabric by the yard.