Using a piece of copper plate as a fusing base

Karen G · Post by **Karen G** » Fri Dec 05, 2003 2:26 am

Has anyone ever used a sheet of 1/16th inch thick copper as a base to fuse glass on? I don't want the copper to stick to the piece, it's just so smooth I wondered if you could use this instead of a shelf. Also, I am able to purchase it much cheaper than a kiln shelf, so if it messes up or gets glass stuck to it, I don't care. Do you think it would need kiln wash.

I have fused on a graphite block, ok results, but the back is still bumpy. I'm very new at fusing and am totally intimidated by my kiln. It sits in my work room and mocks me every day

Thanks for any help

charlie · Post by **charlie** » Fri Dec 05, 2003 10:22 am

as metal heats up it will warp. furthermore, hot glass is sticky and will stick to the copper without kiln wash i would bet.

the melting point of copper is 1083C (1981F) so it could be used without melting it into a puddle. i just don't think it'll work better than kiln shelves.

Dani · Post by **Dani** » Fri Dec 05, 2003 11:37 am

And with that much copper you'll have a dreadful time trying to control firescale. Black, icky flakes of burnt copper that will eventually leave irregular scarring on the surface.

Don Burt · Post by **Don Burt** » Fri Dec 05, 2003 1:40 pm

Karen G wrote:Has anyone ever used a sheet of 1/16th inch thick copper as a base to fuse glass on? I don't want the copper to stick to the piece, it's just so smooth I wondered if you could use this instead of a shelf. Also, I am able to purchase it much cheaper than a kiln shelf, so if it messes up or gets glass stuck to it, I don't care. Do you think it would need kiln wash.

I have fused on a graphite block, ok results, but the back is still bumpy. I'm very new at fusing and am totally intimidated by my kiln. It sits in my work room and mocks me every day

Thanks for any help

What else do you do in your work room? If you have copper laying around and you haven't tried enameling, you might give it a try. But it sounds like you might be a jewelry maker from the copper and graphite mentioning, in which case you probably already enamel. Anyway, enameling is much less intimidatiing than fusing, if the cost of ruining materials is what is intimidating about fusing for you.

Bob · Post by **Bob** » Fri Dec 05, 2003 3:14 pm

Hi Karen,

So you wrote.... "I'm very new at fusing and am totally intimidated by my kiln. It sits in my work room and mocks me every day". This is a typical response/emotion that I think most people have when they first start fusing. I used to get stress headaches and pace in front of the kiln like a caged animal. So I would like to offer you words of encouragement and some suggestions for starting off on the right foot.

The words of encouragement are that we have all been through this "scary" part of the learning curve and we all seem to get through to the other side as very happy individuals. It is just a matter of experience. The more you fire the more you learn. Here are some realities that I think are important. You will make mistakes. If you don't then you aren't pushing yourself hard enough. You will make pieces that don't meet your (or your families) expectations. I have kept many of these as my "wall of shame". There is a corner of the local landfill with my name on it. It may take a long time before the finished piece comes out close to how you had visualized it. Glass does funny things when it is hot and mobile. True. But glass behaves in a predictable manner because it has to obey physical and chemical pricniples. We are not dealing with alchemy... everything happens in the kiln for a reason. You will learn a lot about yourself the further you delve into any form of artistic expression. There are many informed and generous people who frequent this board. You are in the right place to learn.

Now for the start up suggestions. I would start with exploring and understanding some of the principles of kiln worked glass. The project you described is pushing the limits of what glass can do. Your idea is very interesting and creative but might be a bit frustrating as a starting off point in fusing. Start small, simple and cheap. This will reduce the amount of breakage, disappointments and effort. Work with one brand (Bullseye or Spectrum) of glass for fusing (or float/window) so that the "variables" are minimized. Fire a lot of test pieces. Use any available kiln shelf space to do the "what if" projects. Make a lot of observations. How do the before and after looks compare? Look in the kiln while it is firing... there are neat things going on in there.

So Karen, relax... your kiln is not a fire breathing dragon that is waiting to rage out of control. After a few firings you will be confident and in control. Then you are onto the road of experimentation, discovery and creativity. Its a great journey.

Cheers,

Bob

Pat Watkins · Post by **Pat Watkins** » Fri Dec 05, 2003 4:10 pm

Thank you Bob from all of us.

I just want to reach the other side...

Bob · Post by **Bob** » Fri Dec 05, 2003 4:27 pm

Pat,

I believe that given enough glass, electricity and personal energy we will all get there.

Cheers,

Bob

Dani · Post by **Dani** » Fri Dec 05, 2003 5:42 pm

Wow, Bob, thanks for sharing.... I always wondered how ascension worked.

On the serious side, can anyone comment on the magazine Glass On Metal? It's for enamellers and I think Thompson Enamel puts it out. It looks yummy on their website.

Mira · Post by **Mira** » Fri Dec 05, 2003 5:45 pm

Bob,

You are not only a great glass artist, you are a great writer. You have articulated what I instinctively know. Thanks for putting it down!

Mira

Karen G · Post by **Karen G** » Fri Dec 05, 2003 8:05 pm

Gee, thanks everybody, and Bob, great pep talk. Actually, I haven't even used this kiln yet. I have been making stained glass for a few years, pics, panels, etc., and have just recently been making hot glass beads with a hot head torch - have to drag them to my glass dealer so he can anneal them for me, if I feel like it. Mostly, the beads have just been thrown in a bucket as I feel I am learning the technique of keeping them round, or doing whatever it is I am trying to accomplish at that time. I use the graphite plates to roll the hot glass around on, thus, my graphite collection! The glass I fused on the graphite was done at my glass dealers and we both wanted to see what it would come out like. The copper panel I have is a garage sale purchase I had thought to use in a windchime, but it's a little thick to drill through.

I've made lots of stained glass windchimes - no fusing or use of my own beads, and have been quite happy in that medium for awhile. But using a kiln and learning to fuse, slump, mold, whatever, has been calling my name recently. So I bought this set up. I think I have the digital controller down, this weekend I am going to try and fuse a small piece to see what happens.

I have an Olympic kiln that came with some things I didn't ask for and I'm not sure about these. One is a hole with a piece of glass over it, a "look-see" hole I guess. Then there are two other smaller holes that also go all the way through the fire brick, but are left open. There are two "plugs" that came in a bag, but what the heck do I do with these holes? Plug them up, leave them open?

Well, I'll get it sooner or later. This is probably not a good time to try and work my mind too much as I just broke off my back molar below the gum line, and it hurts like a nasty boy. I was thinking about having all my teeth pulled (they are mostly fillings from bad dental care as a child) and making my self a set of dichro dentures! Think of the possibilities!!

Thanks again for all the support, I have been lurking around here for a long while, and the posts on this message board are just wonderful. I'm so happy to meet everyone.

-Karen

WarmGlass.com

Using a piece of copper plate as a fusing base

Using a piece of copper plate as a fusing base

Re: Using a piece of copper plate as a fusing base