Deeper Slumping

[Al Bray]

Just a few pictures of my first attempt at slumping a project into deeper molds on my own.

The vessel itself is approximately 12.75" in diameter and 6.75" deep.

- Al

[Terry Curtis]

Al, is this just the 2nd slump? I really like it

[bob proulx]

Nice job Al, it looks like the new kiln is working out.
Bob

[AndyT]

Beautiful!!

[Barb R]

Love it! It's gorgeous.

[Warren Weiss]

Superb!

[Morganica]

Love (adore, really) that bowl...but it's the pyramid that keeps catching my eye!

[Havi]

This is really very nice. I like the design, as well as the form.
Did you use Karl Harron's technique ?



Thanks

Havi

[twin vision glass]

I am loving what you are creating. I love also to work with reactions in the glass, and you have created a wonderful piece . I think your kiln is perfect for this. Front loading kilns can be alittle tricky for colour bar techniques as you build the piece and then lift over to the kiln , so I LOVE to drop it down , instead of try to balance it in , and this looks perfect for what I love to do. AND I toooooo love the pyramid. I like also to use sections of the bars and slice and shape. Or perhaps this is the diamond mold from Bullseye. Does not matter what mold or technique, I love it.
Leslie

[Studiodunn]

So Love!

[JestersBaubles]

Beautiful!

I want to be like all you guys when I grow up .

Dana W

[Babette (Shawn)]

Gorgeous bowl Al! And I love your photography! The first photo with the circular shadows is very artistic...man of many talents!

[Al Bray]

Thank you to everyone for taking the time to provide feedback.

To answer the questions:

Havi, I did use the first two molds from the 3 mold set that are used in Karl’s Perfect Vessel workshops for slumping this project.

Terry, I decided not to do the third slump on this particular project because I wanted a wider flared out bell top rim to play with when flatlapping. I felt that was necessary so that the eye easily flowed over the rim from the design on the inside to the center design element going on with the outside. In my thinking, the steeper walls would have made that transition much more definite and resulted in them “feeling” more disconnected.

Morganica and Leslie, the pyramid actually came about as a way for repurposing the scrap that results from the construction of the main project, as well as cut down on all the excess space that scrap takes up in my small studio space trying to store it for that “future” project.

The boarder glass from cutting the circle blanks is tile nipped up into smaller pieces and the excess frits/powders (that fall off or purposefully brushed off) are gathered up and used in these rather than placing it all back in their original container risking cross contamination.

Sometimes you can see the order in which the main project was constructed in the layering and it relates back to the main project. Sometimes not so much.

The mold used for this one was from a set of stainless steel jello molds that I picked up in cooking store. I very recently purchased the larger Bullseye pyramid casting mold as I think will be much easier to deal with due to it's flat base and, being ceramic, no sprawling at the higher temps where these are fused.

Thanks again to everyone for your comments.
- Al

[Havi]

- - - -
And thank you for the detailed response and the beautiful piece!




Havi
one day I shall do one of these too [probabley not as pretty]

[Raphael Schnepf]

I agree with Cinthia about the pyramid. It really caught my eye.

[Richard Blummer]

Wow, both the pyramid and the bowl are spectacular!