Tag: how-to fuse glass

1. Clean your glass before cutting it.

It’s much easier to clean a single square piece of glass than it is to clean a bunch of small pieces. You’ll also do a better job because you can see any dust or hint of glue from the manufacturer’s stickers more easily on the larger surface area. I avoid using chemicals or cleaners that might introduce potential contaminants to my fused glass. I use plain water and clean cotton towels to clean and dry my glass.

2. Improve your accuracy by using the right tool for the job.

When cutting glass strips or circles for my projects I use certain tools to help improve the fit of my pieces. The benefits of using strip cutters and circle cutters are they reduce waste and scrap glass. Plus, their ease of use makes the project assembly faster, easier and more precise.

Wet saws are great for cutting intricate shapes that otherwise would have to be done in multiple pieces. This time and material saving approach also enables you to make more elaborate designs.

Mosaic nippers are handy to quickly and efficiently produce irregular pieces for playful patterns and whimsical designs.

3. Pick a color pallet and stick with it.

Being selective about the colors you use increases the strength of your artwork. It shows the purposeful design direction of the artist and at the same time establishes the mood of the piece. Use multiple shades of the same colors to create depth and greater visual interest. Select both transparent and opal glass in your color pallet to increase design depth.

4. Use high contrast colors.

Be bold! Combine striking colors to bring your design to life. Using high contrast colors enhances the linear details of your design. It’s an easy way to increase the impact and overall attractiveness of your glass art.  

5. Include a focal point.

A focal point gets the viewer’s attention, engages them and makes your art memorable. Focal points can be literal like a leaf, a bird or a wave. Easily recognizable images are relatable and endearing. While abstract designs also benefit from having a focal point too. You can include an unexpected shape or pop of color to make your art more engaging.     

6. Do your best work.

Be meticulous with every step. The time and effort you put into each step makes the next step faster, easier and more professional looking. Make sure your glass pieces fit well. If you ask yourself, is this good enough? It likely isn’t your best work. Redo that piece, re-cut the glass, do whatever it takes to make sure you’ll be proud of your finished work.     

7. Build your projects with two full layers of glass to make them visually attractive and structurally durable.

This method of assembly produces beautiful smooth edge quality and a uniform thickness throughout your finished piece of art. These characteristics elevate your work to a professional quality that’s consistent with high end, gallery worthy artwork.   

8. Make your pieces a little smaller than your slumping molds to ensure they slump evenly.

If you intend to slump your fused glass project measure the slumping mold you plan to use in advance of laying out your design. Make your project ½-inch smaller than the mold to accommodate any potential growth and to ensure the glass slumps evenly. When the glass is larger than the mold, or if it sits on the top edge of the mold, the glass may slip to one side and slump unevenly.  

9. Fire projects with other pieces with similar construction style.

It’s good practice to fire projects built with two layers together and fire projects made with one layer separately to ensure you have the best results possible for each type of construction. Large projects can be fired alongside small projects. Fire the kiln at a rate that’s appropriate for the largest project in the kiln.

10. If in doubt fire slower.

If you’re concerned about your firing rate it’s okay to fire your kiln more slowly and add more time to the annealing segment hold. This small change often improves your consistency and results in greater success.  

11. Re-prime your kiln shelf and slumping molds before use if they show signs of wear.

I clean and prime my kilns shelves every time in use them. Then I’m sure my glass won’t stick to the shelf. I prime my slumping molds when they show signs of wear. Wear includes: the primer looks thin or it’s pealing. This routine maintenance enables me to fuse and slump with confidence.

12. Allow your kiln and the glass inside to cool to room temperature before opening the kiln.

Be patient! I know it’s hard to resist opening the kiln. If I’m tempted to open my kiln, I ask myself what’s more important to me in six weeks from now? Is it that I get to see the project a few hours early OR that the project is cooled properly and stable? This idea gives me strength to be patient.  

Bonus 13. Take before and after pictures and take notes.

Pictures and notes help you gain confidence in your kiln work. They document your progress and are glowing examples of your artistic growth. They’re also useful for trouble shooting unexpected results. Pictures and notes help you reproduce your successes and learn from your failures.   

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Happy Fusing!

Lisa & Niki

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Sunny, relaxing summer days are here! It’s time for delicious family picnics, breezy boat rides and warm sand between your toes. This series of bowls combines simple lines, a pleasing color palate and a whimsical touch of nature with classic seaside style. Beach Day Bowls are perfect accents for creating beach style comfort in your home all summer long.

When I come across a pattern that really brings me joy, I like to recreate that design in different sizes. Then I display the companion pieces around my kitchen and family room to set a seasonal mood throughout our living space. If you’re attracted to this pattern, consider making it in a few different sizes to get the most out of the simple, yet stylized ocean theme.

How-to make the bowls.

These bowls are made with two layers of glass. The base layer is clear glass. The second, design layer is made up of cut glass pieces. Start by cutting the clear base.

Enlarge the pattern to your desired dimension. Use the pattern as a guide to cut the design layer. Cut the paper up. Glue it to the glass with a glue stick. Cut the glass as close to the paper pattern as possible to minimize the amount of grinding needed.

There are some deep, inside cuts in my pattern. Cut the glass as accurately as you can. Grind the pieces to improve the edge quality and overall fit of the design. Assemble the cut glass pieces on top of the clear base. Use fuser’s glue to affix the design layer to the base layer. It’s okay if your pieces don’t fit perfectly. Let the glue dry. This will prevent the glass from moving when you apply the frit.

Use a spoon and pour fine blue frit on top of the glass. Use a paint brush to move the frit into the gaps between the pieces to fill in the space and add a linear detail. Remove any excess frit by sweeping it off the glass. Be meticulous about your cleanup. Attention to detail make a difference. Doing your best work on every step will dramatically improve the quality of your finished artwork.

Use a razor knife and cut a bird footprint stencil out of stiff paper. I use file folders or poster board. You can also use plastic stencils available at your local craft store in the scrap booking department. Place the stencil on the area of the design that represents the sand. Sift powder brown frit over the stencil. Carefully lift the stencil off the glass.

Fire the assembled project to a full fuse temperature using the firing guide below.

Place the fused glass on a slumping mold and fire it to a slumping temperature using the guide below.

My bowls measure 10 inch x 10 inch, 6 inch x 6 inch and 4 inch by 4 inch. You can make these bowls in different sizes and get the same beautiful results.

Artful Home has 16 projects you’ll love!

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Happy Fusing!

Lisa

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 Firing your own projects is exciting. It empowers you to make your own decisions and gives you the freedom to try new advanced techniques. The best way to gain confidence in your fusing is to build consistency into your firings. You want to get to know how your particular kiln works and define the results you want to achieve. At first, you’ll make mistakes and have varying results. That’s okay. You’ll learn something valuable from every firing. Plus, you’ll gain experience and learn to trust your process.    

Start with project assembly.  

How projects are assembled has a direct effect on the durability and, “look” of the finished piece. Most of my projects are assembled using two full layers of glass.

Glass settles at a thickness of ¼ inch when it’s heated to the full fuse temperature. By assembling with two layers of glass, I maintain control over the size and shape of my finished piece.

Fusing one layer of glass will cause the project to shrink. And it will have a fragile, sharp, irregular edge. While fusing three layers of glass will result in the project growing in size, which changes the original shape considerably.

Since two layers is my go-to type of assembly, the projects I made for these comparisons are made with the 2 layers of glass. If your go-to is a different type of assembly, you’ll want to duplicate that for the following firing comparisons.

I fired several 6” x 6” square projects made with 2 layers of glass for these comparisons.

Characteristics of a terrific full fuse firing.

The full fused glass retains its shape and original size. It also has a uniform thickness, smooth surface, rounded edges, and a clean back side. The design accent details melt into the top layer giving the project a shiny, smooth surface. 

Characteristics of an under-fired full fuse firing.  

An under fired project will retain its rigid shape and its original size. The edges are hard, angular, and sometimes sharp. Since the two layers are not completely fused together, a seam may appear on the edge showing how the layers were stacked. The back side of the project is clean and smooth. Design details, like frit have texture and are not fully melted into the top layer.

The solution to an under fired project is to re-fire it a little hotter. To get more heat results, I usually add ten degrees to the target temperature. The target temperature is the temperature that gives me the desired results.

Firing Target Temperatures for 96 COE & 90 COE.

Full Fuse: 96 COE 1465°F (796°C), 90 COE 1480°F (804°C), hold 10 minutes

Tack Fuse: 96 COE 1365°F (741°C), 90 COE 1385°F (752°C), hole 10 minutes

Slump: 96 COE 1265°F (685°C), 90 COE 1265°F (685°C), hold 10 minutes

Characteristics of an over-fired full fuse firing.

An over fired project will grow in size. The outside edges will round out. The glass will lose its square shape and be larger than the original 6 inch by 6 inch size. Kiln wash may stick to the backside and may be difficult to remove. The design details, like frit will be completely fired in giving the project a smooth shiny surface.

The solution for an over fired project might be to grind the edges to regain the square shape. Or you can remake and re-fire the project at a lower temperature.

Characteristics of a successful slump.

A successfully slumped glass project conforms to the shape of the mold. It also retains a clean shape and the sides of the project retain their height.

Characteristics of an under-slumped project.

An under-slumped project does not conform to the mold. The glass project doesn’t have enough drop and so the piece is shallow. The piece may also wobble on the table because it didn’t come in contact with the flat bottom of the mold like it should have.

The solution is to re-fire the glass in the mold and hold it at the target temperature a little longer than the first time. I usually add 10 minutes hold to the original program.   

Characteristics of an over-slumped project.

The backside of an over-slumped project will pick up unwanted texture from the mold. It also loses some of its shape because the sides slide down into the mold. The result is an uneven top edge or rim. The solution is to call it something new or remake the project.

Tack fusing test.

I made three different size nuggets to make a bowl that would look like it was made out of rocks. I cut a bunch of round shapes out a grey glass. Then I cut matching pieces out of clear glass. I capped the grey with the clear and fired the stacked glass nuggets to a full fuse temperature. The pieces came out great.

Don’t hesitate to customize your programs.

Then I arranged the fused glass nuggets on a kiln shelf to make a circular design. I tried using the Auto Mode on my kiln and set the controller to tack fuse the glass together. The finished project looked great, but the pieces didn’t stick together. In Auto Mode the kiln didn’t fire hot enough to tack the glass pieces together while they were resting next to each other.  The lower temperature was intended to tack fuse glass pieces stacked on top of each other.

The solution was to enter my own program in the kiln controller and re-fire the glass to a hotter temperature. It worked! I then slumped the tacked piece to make a shallow bowl. The finished art was a beautiful success!

Take notes.

I recommend taking notes outlining how you assemble your pieces and on your firing steps. This way you can easily reproduce your successes and learn from the pieces that didn’t come out as you expected.

You can do it. I believe in you!

It takes a time to get comfortable firing a kiln on your own. The upside is you’ll learn new and exciting things every step of the way. Relax and enjoy your process. No matter what your results are be grateful for your creative development. And take advantage of the opportunity to make your own personalized pieces of art. 

Happy Fusing!

Lisa & Niki

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FAQs for Glass Fusers

I’ve been teaching how to work with glass for more than 30 years. I’ve helped thousands of students create beautiful, unique pieces of art. With my lengthy teaching experience, I get a lot of questions from students. I thought I’d share some with you.

Students try to get absolute, it’s only done this way, fusing advice from me. My advice to them is there is no always or never in glass fusing. I approach every project with the intention of getting the best results possible. I use any and all means and combination of materials I have available to achieve my artistic  goals. There are many ways to approach glass fusing. The following list is intended to be a guide to help you understand different aspects of the craft and improve your results.

Here we go:

Q.  Do you have to re-coat the ceramic kiln shelf with primer every time you use it? 

A.  I do re-coat my ceramic shelf with primer every time I use it. I apply three coats of shelf primer on top of the used primer. However, if the shelf shows signs of wear, I scrape it down to the bare ceramic with a single edge razor blade. I then re-coat the shelf with 3 fresh coats of primer. Visible signs of wear would include the primer looks thin, the coating has cracks in it or it’s flaking off the shelf.

Q. Why does the kiln wash stick to the back of the project?

A. This is usually the result of exhausted kiln wash; the shelf should have been reprimed prior to use. It may also occur when the glass has been fired to too hot a temperature or kept at full fuse too long. Kiln wash can be removed with fine steel wool or a scraping tool. Stubborn spots can be soaked off with a bathroom cleaning product used to remove hard water stains. 

Q. After the project is fused, how close to room temperature does the kiln have to be before opening the kiln lid?

A. How badly do you want the project inside? Room temperature is usually well below 100 degrees Fahrenheit. If you open the lid prematurely thermal shot can occur; breakage caused by changing temperatures too fast. Just a quick peek in the kiln, done too early can ruin your day. Wait, it will be worth it! 

Q. What causes tiny bubbles and how do I get rid of them?

A. Air becomes trapped between the layers of glass when it is heated. The number and size of the air bubbles can be reduced by heating the glass more slowly between the temperatures of 1000 to 1465 degrees Fahrenheit. This gives the air more time to escape before the glass edges become sealed.

Q. How do I avoid big bubbles?

A. Large dome shaped bubbles sometimes form in the middle of medium to large size projects. This is usually the result of firing too fast on a smooth surface like a ceramic kiln shelf. The outer edges of the project become soft first and form a “seal” like a suction cup on the shelf. Air becomes trapped under the glass. When it expands it lifts the glass and forms an unattractive bubble. This is less likely to happen when using shelf paper or a fiberboard kiln shelf, as the air can escape through the porous material. The best advice is to slow down the firing process. 

Q. Can I stack kiln shelves?

A. Not recommended. Unlike ceramics, glass is thin and reacts to heat quickly. Stacking shelves causes uneven heating. The outer edges of the project become molten before the center has a chance to react; your firing results may be inconsistent.  

Q. How does the thickness of the glass relate to my target temperature?

A. A project made with two layers of thin fusible 2mm glass will usually reach the desired “look” before a project made with two layers of 3mm glass. When you change project sizes or materials (2mm vs. 3mm) you will want to monitor the first few firings and make any necessary adjustments to your firing schedule.  

Q. Can more than one project be fired in the kiln at one time?

A. Yes, if the projects are similar. They should be made from the same thickness of glass, have the same number of layers and be close in size. Use a firing speed for the largest project. Small projects will not be harmed by firing slowly but the large project will suffer if rushed.

Q. What causes sharp edges on the project?

A. Dragging is usually caused by over firing a project that is resting on fiber paper. As the glass contracts and draws in on itself the paper resists, sharp edges are the result. This edge can be made safe with a file or grinder. After grinding the project, it can be put back into the kiln and heated until the ground edge is polished.

Q. Why is there debris between the glass layers?

A. Too much glue. Small amounts of glue will burn off leaving no trace. I avoid using glue if possible. When I do use glue, I apply a few pin head size dots on the backside of the glass. If you use an excessive amount of glue, it will burn, becoming sealed between the layers, leaving dark blotches. Excess glue can also cause small eruptions that will blow a hole through the glass or cause pieces to jump and move in the kiln.

Q. What is the difference between using a ceramic kiln shelf or fiber paper?

A. Ceramic Shelf:

• Fused glass will take on the texture/pattern of whatever it is fired on. If you fire on a ceramic kiln shelf your project will have a smooth back surface. (Great for bowls, plates, fine art pieces; projects where a sleek underside is desired.)
• A Ceramic shelf can be used repeatedly.
• A ceramic shelf is dense; it retains heat which allows the glass to pass through the critical stages slowly.
• Ceramic shelves must be primed frequently; this can be time consuming.

Fiber Paper:

• Shelf paper comes in a variety of thicknesses and finishes. Generally, the thinner the material the smoother the fusing surface. (Great for coasters, pins, wall art; projects where a textured back side will make it easy to glue accessories on like rubber feet, pin back, etc.)
• The thin material can only be used once. The medium material can sometimes be reused; it leaves a matte finish on the back of the project. The thick material can be used multiple times but the texture on the back of the project will be course.
• The fiber paper is porous. Air can circulate, therefore large air bubbles are less likely to form between the glass and the shelf.
• Shelf paper must be cut to size and can be costly if you are using it every time you fire.

Q. What are the differences between ceramic molds and stainless-steel molds? 

A. Ceramic Molds:

• Ceramic molds come in a wide variety of sizes and shapes. They must be primed like the ceramic kiln shelf. The primer tends to last longer on a form than on a shelf because slumping temperatures are lower than fusing temperatures. Slumping occurs at approximately between 1200-1300 degrees.
• Ceramic molds are inexpensive and durable, but they will break if dropped or used unprimed.
• Ceramic molds should be sanded and re-primed if there are pits or cracks in the primer coating.
• Ceramic molds cool more slowly than glass. Therefore, most molds are shaped so the glass slumps down into the mold, allowing the glass to contract first.

Stainless-Steel Molds:

• Stainless steel molds come in a variety of shapes and sizes as well. They must be primed also. The slick surface makes priming more difficult. The mold can be sanded, sandblasted, or heated to make the priming process easier.
• Stainless steel molds are extremely durable “forever” molds. But they tend to be several times more expensive than ceramic molds.
• Stainless steel molds should also be sanded and re-primed if there are pits or cracks in the coating,
• Stainless steel cools more quickly than glass. The metal contracts underneath the glass which gives the room needed to slide the draped glass off a floral former style mold.

Some advice:

Enjoy the creative process. Don’t rush it. Take your time. Make small test pieces to establish a relationship with your kiln and with fusing materials. Take before and after pictures. Take accurate notes so you can repeat the successful projects and learn how to avoid failures. Don’t worry that the test pieces won’t be fun. Some of my best work originated as a small sample. Trust that as your confidence and skills grow, so will the size and complexity of your projects.

This FAQ’s is from the Free Firing Guides and More page of my website. Find more helpful there.

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