WarmGlass.com

Hi all,
I am working on a window panel of a luna moth using a combination of sheet glass and frit. I have some seam lines that show after the first firing. I always intended to fire it twice to work on the moth detail more. Is there something I can do to make the lines disappear. Would piling on more frit do it? Because its transparent I can't use opaque to hide the lines. Any advice would really be appreciated. I've attached a pic so you can see the issue. The piece is 12" x 18".

It sure is pretty....I kinda like the lines...how about "outlining" the entire moth and use as a design element? Or could you outline your moth with lime dichro/yellow dichro..or could you use your outline lines and extend them into the moth to provide additional interest? I know we usually all have a certain look we're going after, but if that doesn't work.....we punt! Good luck with getting it how you want!
Chrys

That's a tough one. If you cover those seams with frit you'll also change the volume of glass there, which will likely change the color a bit. You might get rid of the lines, then have to deal with the lines that got rid of the lines...

If it were mine, I'd either consider it part of the creative process (i.e., live with it), or change the background completely. You could go for a light-dappled, mottled effect by adding big chunks of transparent frit all over the background (not just the lines) in complimentary colors or possibly just in clear (again, it changes the volume and therefore the color of the transparent glass). You could add lines of swirling powder or enamel. You could outline stuff in metallic lustre and draw swirly lines that way. Or if you've got a diamond bit and a Dremel or Foredom, you could literally carve lines into the glass, fire it and create texture.

Lots of different ways to do it--the question is whether it will actually improve it. I kinda like it as-is.

I guess you're talking about the outline around the moth? Put me down as being in the like-it-as-it-is group.

You could change course altogether and use this piece as the basis for "Vitri-Fusaille. That's a painting technique trademarked by Peter McGrain and perfected by Raphael Schnepf.

Jim

David Jenkins wrote:I guess you're talking about the outline around the moth? Put me down as being in the like-it-as-it-is group.

I think the issue is the diagonal lines in the blue that go from bottom left upward.

It is a beautiful piece, though. I like the idea of using chunks/small pieces of clear to dilute the background -- either the entire background or a pattern that manages to hide the lines while adding interest. Or, leave it as it is .


Dana W.

Ok - now I see that line. The moth draws one's attention so completely that I think that line may be a non-issue?

I agree, the seam lines really don't seem to be much of an issue with your interesting piece of art. if they really bother you I would add something subtle to the entire background, like others have said chunks of clear or coordinating blue/green.