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This one is 11" and I'm comfortable enough with the process to get into some real trouble going big. And, this is the yellow you've been hearing about on the kiln forming board.

Jerry

Nice job Jerry.

Looks like the yellow shifted after fusing to the normal yellow?

Tony

Okay, so who's going to put one through a drop-out ring? I'm anxious to find out what happens!

Dani,
I'm not sure what you are asking. ANY mold is a drop out mold. The doughnut variety obviously have some flexibility other molds don't have. Why would dropping a pot melt through a mold be any different than dropping any other piece of glass through one? What are you trying to do?

Jerry

Dani wrote:Okay, so who's going to put one through a drop-out ring? I'm anxious to find out what happens!

It will just drop down like any glass Dani. The glass at the hip of the ring is where the streching will occur, so the pattern at that spot in the glass will thin and stretch as you would expect it too.

I personally don't like the shape of the drop rings I've seen and done, with the exception of a shallow drop...but then most people would just use a regular vessel mold for a shape like that.

If you want to really see what will happen, then you need to do your own experiment girl

Dependent upon how you charge the pot and with what colors determines what your puddle of glass will look like...so as each puddle of glass will differ, so will each drop ring vase and the resulting changes in the visuals of the stretched glass.

What a question! Look at the resulting beauty of a potmelt with all those swirls of color. Can't you imagine those swirls being manipulated into a gorgeous vase?? I can.... I can also imagine something just the opposite which is why I'm so curious if anyone has ever tried this. I will just have to try to make my own mess, I guess. PS I'm talking about a drop ring here, not just any regular mold.

How did you add the rims? Did you melt into the rims or did you melt and then refuse with the rims around the already melted glass?

That looks really cool Jerry.

Heidi

A couple of you commented about the yellow shifting, and I forgot to tell you how I accomplished that; Patty, a rear shot will explain it. The yellow rim you can see is the top of three and is the old yellow. The other two were the odd color, and on the back, you can see there is a difference. Sorry folks, alchemy isn't my strong suit.

As for the rim that someone asked about, go to Spectrum's fusing page. You can link there at the top of any of the board pages. Look under the circle cutting tuturial by our very own Patty Gray. She explains it far better than I ever could.

Jerry

Jerry
very cool! The liquid look of these pieces sometimes reminds me of the old "wet show" psychedelic lighting that was popular in the 60's. It's neat when liquid gets frozen in time like that. You can still feel the movement of it. I'm anxious to do one of these - this is inspiring.
The Spectrum tutorial on ring-making was very helpful too.
Phil

Patty's description is great. It takes some practice and I'd advise gettin some window glass. As you press down on the back side, opposite the score, in window glass you can actually see the run start. Most of us died in the wool glass crafters have to be able to see or hear that run, so practicing with window glass helps make the transition. Except for black, if you don't see or hear the run start you can usually pick the piece up and hold it against a bright light to see the reflection of the running score. But the bottom line is to practice.

Good luck,
Jerry