WarmGlass.com

Hi
I am preparing to fire many small pieces of glass to have a record of how the colors fire. (thanks for the suggestion, Valerie)
I plan to use the rolled edges of the glass. It will be one layer only ( unless someone suggests I fire with a cap or base of clear)
Here's the schedule I plan to use.
400. 1100. 30 min
50. 1250. 30 min
500. 1475. 30 min
AFAP. 900. 30 min

This is a slight adaption of a schedule I used in a class.
Any suggestions?
Thank you
Susan

hey Susan!

So.....if you are making test strip with no cap there is no need for the bubble squeeze in your schedule. If the only thing in your kiln is the test tiles just take your 400 straight to the top.
That being said what I would do is to take each tile and cap one side of it. Clear can change the look and it will be a great reference. So if your test piece is 2" cap a 1" clear on one side. That way it will be a a reference both ways. This will especially be important when using irid glass as the clear really changes it. Just my thoughts over my morning coffee!

You will love having this chart thru your years of glass fusing!

Firing strikers quickly may not promote the striking to the full colour. The maturation of the colour requires a minimum amount of heat work.

And make your tiles big enough to write on, or at least big enough to write a number on so that you can cross-ref the tiles to your records of glass, schedule, layup, etc. Also, if your tile is really testing more than one thing, make sure you identify each section of the tile somehow (I use pieces of stringer) so that later you can identify which section was what.

May I ask, how do you all store these tiles for easy reference?

Thanks
Sheree

I keep my tiles in small plastic containers, separated by type....opal, transp, streaky, etc
Eventually, I'd like to figure out a way to put them on narrow shelves on a wall in my very small studio
I've written the color and number of the glass color on one side with a fine black marker. I need to get a white or silver marker to write on the dark tiles
Interested to hear how others store them for reference.

Laurie....what do you mean by "chart".

The tiles I've made so far make me realize how important it is to take the time to make the test tiles.
I appreciate the suggestion to cap half of the tile with clear and will do that from now on

By the way, I used the rolled edge to make the tiles.....worked out well and a good use of that glass.
I also learned what is meant by "dog boning".....very cute test tiles!
Susan

I have a very elegant filing system, called the "five-gallon bucket method."

I posted this in another thread; these are my 1.5" color reference tiles, mounted with mirror strips:

This is what I meant by a chart! Yeah Valerie! If I put them in a bucket I would never refer to them.
I also have some wood panels that I use e6000 to adhere the glass and write directly on the wood........but I like the way Valeries is even better!

If you are making test tiles, fire them with your most frequently used schedule (or the schedule you're planning to use on the piece you're testing for) at least on the up ramp and process temp.

That means that if you always use a bubble squeeze and a slow up ramp, your test tile should experience that too. As Stephen points out, some glass colors are more heatwork-dependent than others. If you don't give the same level of heatwork to the tiles as you do your artwork, they may not give accurate color results. (The easiest way to do this is to simply throw in a few tiles wherever you can squeeze them into a kilnload.)

Also, when doing test tiles--assuming your glass manufacturer supports this--always record the schedule you used AND the mfg's batch information for those tiles. Color formulations can change over time.

And if you buy "furious," "uncats" or whatever your mfg calls flawed, reduced-price glass, test a small piece and compare it with your master sample. If they're the same, great. If not, tape the sample to the sheet before sticking it in your glass bin. Saves a lot of headaches.

Morganica wrote:If you are making test tiles, fire them with your most frequently used schedule (or the schedule you're planning to use on the piece you're testing for) at least on the up ramp and process temp.

That means that if you always use a bubble squeeze and a slow up ramp, your test tile should experience that too. As Stephen points out, some glass colors are more heatwork-dependent than others. If you don't give the same level of heatwork to the tiles as you do your artwork, they may not give accurate color results. (The easiest way to do this is to simply throw in a few tiles wherever you can squeeze them into a kilnload.)

Also, when doing test tiles--assuming your glass manufacturer supports this--always record the schedule you used AND the mfg's batch information for those tiles. Color formulations can change over time.

And if you buy "furious," "uncats" or whatever your mfg calls flawed, reduced-price glass, test a small piece and compare it with your master sample. If they're the same, great. If not, tape the sample to the sheet before sticking it in your glass bin. Saves a lot of headaches.

Yep, all of my samples are created this way. What I especially like about the rail system is that they're removable, so I can group them, compare them, etc. These are my most-used samples (at least for this week!) I have several other tiles, including my special production colors, in small trays like photo slides are stored in.

Valerie
can you post info about the rail system? Specific product name?
thanks
Susan

Susanbuckler wrote:Valerie
can you post info about the rail system? Specific product name?
thanks
Susan

Maybe 'rail system' is a bit of an exaggeration! I bought the strips at the hardware store; they're made to hang large mirrors. Nailed them to a bright white board and screwed the whole thing to my glass storage shelves. The rails are large enough to accommodate two-layer tiles. Mine measure 1.5" (more or less).

Adding another project to my list.

I've been trying to think of a good way to keep my sample tiles out and visable. I feel like I'm constantly digging through them and normally have about 1/3 of my work space covered by the ones I want to look at.

Valerie, I love the idea! Thank you for sharing it.

Plastic J-bead, the type used for edging drywall sheets, can be used, too, but won't take much weight or look as elegant as Valerie's metal mirror edging. J-bead works OK for 3 mil samples and if you don't make the span too wide it will support 6 mil.

I stapled (horizontal) strips of it to the inside of a cabinet door in the dressing room to hook those ear-ring holder thinggies over. Jen