WarmGlass.com

I had a few Paragons where the pins would drop from the lid during firings; I'd put them back in but that created kiln dust. So I finally removed all the pins and secured the elements in the grooves with Pyrolite High Temperature Caulk (I bought it from Paragon). I put a dab every 4-5 inches and jus...

I remember hearing (while at Bullseye?) that black varies; sometimes it's more blue, sometimes green, sometimes purple, etc.

"Champagne bubbles" are an inherent trait of fused glass. Besides doing a good bubble squeeze (I ramp at 50° from 1150° to 1250° in my kilns), some people sift a very fine layer of clear powder between their layers of glass. I'm talking a single grain thickness. It's easiest to use a blank...

I have a strict 'no bottles allowed' policy in my studio but awhile back found myself with a couple cases of those new 'vintage' look jars in green and blue. Because they're not tall and have a large foot, I sawed them in half vertically. That way they slump quite nicely, due to less mass. Of course...

Wow, I love this piece!

I stopped using fiber paper and my issues stopped. Now, if for some reason I have to use paper, I simply vent the kiln while firing.

1) First of all, while this is all true about Bullseye, I found their representatives to be exceedingly arrogant, rude and obnoxious. A long time ago I decided to make art with 96 rather than put up with unprofessional behavior. Considering the posts for incompatibility/ devitrification/ etc. I hav...

That saw does a better job with a blade stabilizer on it.

Here in California it's been 50/50 for years. But since many have retired and/or closed for various reasons, many new galleries are back to 60/40.

Maybe this will help:

http://fusedglass.org/tools/pot_drop_calculator

It comes down to integrity. If someone purposely deconstructs an artist's work and then gives the info away, I think that's just shitty. Your original post made it sound like you wanted to figure out how a professional instructor created their work, and then you'd write a tutorial or create free onl...

Are you using a blade stabilizer? That made a big difference on my 10" saw.

Beautiful and inspiring, as always!
Merry Christmas!

I've needed to fire to about 1425° in order to get any decent texture on texture molds. However, I've never used Slumpy's molds, as I find they're not great quality. Be sure you've got a good separator applied (many people use Boron Nitride spray on texture molds). You can visually confirm your slum...

Fire polishing temperatures are higher than slumping temps, which means you'll lose the shape of your piece if you just put it in the kiln and try polishing. Most slumping problems occur because of firing too hot/too fast. For 95% of what I slump, I use the same schedule: 200° per hour until 1150°, ...

Because tack-fused elements form almost a 90° join instead of a smooth, full fused surface, the tension at those angles is extreme. Bullseye recommends annealing four times the length of time you'd normally anneal a piece, based on thickness. I see at least three layers in some places, so I'd anneal...

I'd send a photo to CBS and ask if they recognize it. They've been amazingly helpful in identifying glass coated by them.

http://www.cbs-dichroic.com/contactus.asp

Hi Becky, First, I want to commend you on your beautiful circle cutting! I've known glass artists who've got years of experience and still struggle with circles. So my question to you is, are you positive your clear glass is compatible with your colored glass? I'm not familiar with Wissmach but I kn...

The other thing to consider is that you've got white glass sandwiched on either side with black glass; those have very different viscosities.