You have choices when it comes to how to fire your projects. Different temperatures will result in different project characteristics. My goal here is to give you the tools to make educated decisions when selecting your firing method so you have greater control and more satisfying results.
Fusing Defined
Fuse:To heat glass pieces in a kiln until they melt together into one piece.
Glass Fusing Process Temperatures
Full Fuse
Full Fuse
Full Fuse 96 COE 1465°F (796°C) 90 COE 1480°F (804°C).Full fuse is the most common firing method. At this temperature the assembled glass project pieces melt together to form one smooth piece with visible, but not tactile, seams. The project has a smooth surface and round, shiny edges. I choose this temperature when I’m making decorative and functional artwork where I want a smooth, uniform surface.
Contour Fuse
Contour Fuse
Contour Fuse: 96 COE 1425°F (774°C), 90 COE 1400°F (760°C).A contour fuse is a fired look between full fuse and tack fuse. At this temperaturethe glass layers are fused, and the edges are soft and rounded. The project surface has both visible and physical texture. I use this temperature when I want to create a decorative project with physical texture that increases the surface area to reflect more light.
Tack Fuse
Tack Fuse
Tack Fuse 96 & 90 COE 1365°F (742°C). At this temperature, the glass pieces stick together. The project edges will be square and shiny. Design elements will retain their texture but are generally not sharp to touch. This is a great temperature for suncatchers and other ornaments where you want a light firing that really sparkles.
Combine Techniques
You can fire a project to a full fuse for the smooth rounded edge quality. Then refire it to a contour or tack fuse temperature with additional design elements on top for a unique and dazzling look.
My Building Process
Most of my work is assembled with the two layers, plus accent method. I refer to the bottom layer as the base and the second as the design layer. The base layer and design layer are the same shape and size. The base layer is often a single piece of clear, but not always; sometimes it’s made up of cut pieces. The second design layer can be a single piece of glass, but often, its pieces fit together to make a specific pattern or design. The third accent layer is minimal, and it usually consists of small fusible elements that enhance the design theme. I choose to build this way because I get consistent results time after time. The finished size and shape of the artwork is predictable. The pieces come out of the kiln with beautiful, rounded edges and a consistent thickness that is both attractive and durable.
It’s All Good
Keep in mind, there’s no single right or wrong way to make any project. Personal preference, design style and function should all play a role in helping you decide which approach is best. The objective is to consciously choose your firing temperature based on a solid understanding of the results.
Excerpt from Glass Fusing Terms as seen on my website.
You’re wondering why is this subject important? You’ve likely had success working some element of shading into your pieces and that’s great. However, you may not know about the seldom discussed advanced techniques experienced artists use to produce more sophisticated compositions. With thoughtful planning, you can apply these simple techniques and drastically increase the richness of your work.
When creating shading, it’s natural to reach for black frit or black glass. Black efficiently separates the foreground from the background. Black is also great for outlining your subject. However, there’s a better solution that adds richness to your scene.
When you use black to make shadows it creates a visual hole in your work. This void pulls the viewer’s attention away from your composition. For this reason, I use black as little as possible. I apply it with purpose for specific details in my designs. Instead of black, I use very dark blue, chocolate brown, deep purple or ruby red to make shadows in my pieces. I select the dark color that best suits the color scheme in my artwork. Using powerful high contrast colors adds velvety depth and an incredible richness to the setting.
How to create shadows with color.
Wine Glass as seen in my Simple Pleasures Video
Here I used dark blue to establish the linear details that translate into a grape vineyard behind the wine glass. The deep shadows the blue color creates, give the scene a relaxing late afternoon mood. The border is dark purple which mimics the color of grapes and wine.
Octopus Tray as seen in my Premium Video Membership
Here I used dark red to make shadows on the underside of the octopus tentacles. This application also makes the tentacle visually round and full. Dark red also worked beautifully to outline the octopus body and place it in front of the tentacles that curl behind its body. The only black in this piece is the eye detail.
Fairy tale Forest as seen in my Painting with Frit Video
There’s no black in this lush scene. The dark shadows in the trees and along the path are made with dark blue. The shadow cast on the woodland path is a combination of purple and dark amber frit. Get creative with your color combinations to build up dark recesses that make your highlighted details pop.
Winter Landscape as seen in the winter issue G.P.Q. Magazine Jan 2023
In this piece of art, black is limited to the lines on the tree trunks. I selected muted tones to create a quiet, calm, and relaxing setting. The shadow under the trees are created with medium purple frit. It simultaneously gave me depth and softness which I wanted to portray in this winter scene.
Welcome Fall as seen in my Premium Video Membership
When making this seasonal piece I wanted to maintain a warm yet rich color palette. I used a small amount black in the word welcome and in some of the letters that spell out FALL. When it came to adding shadows to the pumpkin, I used orange opal frit. The contrast is subtle but effective. I’m pleased with the stylized design and the inviting warmth it adds to my home.
You got this!
Don’t worry about missing black. Once you substitute colors for black, you’ll love the effects you’re able to create. You’ll be amazed how switching to dark colors transforms your art and brings it to life.
Artists take what they see and make it new.
We take an ordinary scene and turn it into something new that reflects our sense of drama and whimsy. Using rich colors, instead of black, is a fabulous way to push designs in any direction you want to establish a personalized mood and tone. Give it a try. The possibilities are endless. You’re only limited by your imagination.
One of the fastest and easiest ways to improve your fused glass art and dramatically expand your design style is to develop your glass cutting skills.
The beauty of working with fusing is the simplicity of the medium. Many people come to the craft with little or no glass cutting experience. Due to the ease of fabrication and wealth of readily available information, they’re successfully producing attractive pieces from the start.
But if you’re now tiring of the simple cut and assemble methods that got you started and longing to move in a more advanced direction, a small dose of technique is the jump start you need.
It may seem like a trivial topic to address, but your project complexity is in direct relation to your cutting confidence. In other words, the better you cut, the more likely you are to venture outside of your comfort zone and take on more challenging projects.
Here are some tips to get you started.
1 Consistent pressure.
Contrary to popular belief, it doesn’t take a heavy hand to make a good score line on glass. What it takes is consistent, medium pressure from the very beginning to the very end of the score. The glass cutter should, “sing” as it rolls over the surface of the glass. It’s a pleasant, consistent sound beginning to end. It’s not a cringing grinding noise. A good score is visible its entire length. But it’s not messy and littered with thin splinters. The grinding noise and splinters are signs you’re applying way too much pressure.
Many beginners start strong but let up the pressure as their hand moves farther away from their body. In this case, breakage tends to occur ¾ of the way down the score line. Beginners believe the score comes solely from the hand. A good score comes from making your wrist, elbow and shoulder one rigid tool. This combined strength and rigidity helps you apply consistent pressure the entire length of the score even at an awkward distance from your body.
When cutting an unusually long piece, I turn the glass so I can run my score right to left instead of away from my body. This way I can move my body along with my hand and more easily maintain the consistent pressure needed for a successful break.
2 Cut on the smoothest side of the glass.
In some cases, I prefer the look, color or pattern on the textured side of a sheet of glass. I turn the glass over and cut on the smoother side and then simply turn the glass back over when I assemble my project. The glass cutter wheel will have better, more consistent, contact with the glass the entire length of the score if you cut on the smoothest side.
3 Beginning and end.
Try to start your score as close to the leading edge of the glass as possible without falling backward off the glass. Apply consistent, medium pressure from the very start. End the score as close to the far edge as possible without falling off the glass. Repeatedly falling off the glass edge will damage the cutter wheel and could possibly cause the glass to shatter.
4 Use the right tool for the job.
Use a strip cutter or circle cutter when applicable. Accuracy is key for professional quality artwork. These tools give your work consistency. Plus, they save material by reducing waste and breakage.
When cutting strips, I cut a few more than I need and select the best, straightest strips for my project. The extra pieces find their way into smaller projects, pot melts or free flows. Nothing goes to waste.
Whenever possible, I opt to use running pliers over grozing or breaking pliers to break glass away from a sheet. Running pliers give the most reliable results. They work best if the glass being removed is at least as wide as the rubber tipped plier jaw. When breaking narrow or small curved pieces away, I choose grozing plies because the narrow jaw fits in tight places and allows me to get close to the score line.
5 Use paper patterns.
Don’t hesitate to cut around a paper pattern to include an intricate shape in your work. This is a terrific way to transition away from strictly geometric designs and into pieces with lively organic elements.
Glass wants to break in a straight line. To cut rounded shapes, we make a series or gradual curves and break the excess glass away in steps until we have a glass shape that closely resembles our pattern.
When cutting around a paper pattern piece, cut as close to the paper as possible without running into it. Beginners tend to cut a wide safety halo around the paper. It just postpones the inevitable. Be brave. Go for it. If the glass is going to break unfavorably the halo, no matter how heavenly, won’t prevent it.
Something to build on.
The more time and effort you put into each step makes the next step easier and the finished product that much better. Don’t rush a project just to get it in the kiln. Give it the time it needs and produce your best work, every time. If you have to ask, “Is this good enough,” it probably isn’t. Do yourself a favor, re-do that piece or step. You can thank me later when you’re doing the, my piece came out awesome, happy dance.
Go ahead. Cut it up!
Happy fusing! Lisa & Niki
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Enjoy summer’s sunny, fun filled days with this shimmering tropical fish tray.
The most wonderful characteristic of glass is its generous nature. If you open yourself up to discovery, glass continuously offers the curious artist brand new opportunities to be creative. I’ve been working with this medium for more than 30 years now! And it still amazes me that a simple, new twist on old techniques can still give me a huge thrill and excite me as much as a carefree kid on summer vacation.
Due to the number of projects I make, I have a lot of scrap glass. So, when I find a new, clever way to make something beautiful with left over material, I get fired up. And best of all, the reliable techniques used here are fun and easy to apply. It’s the unusual pairing of multiple design methods that makes this tropical fish tray so attractive and enjoyable to build.
Don’t let the complex looking design scare you. The different techniques I used to create this bright reef dweller are broken down into easy, manageable steps.
Tropical Fish Tray by Lisa Vogt
Let’s get started.
Use the pattern as a guide to cut the base layer out of clear glass. Grind the glass to improve the shape and remove any sharp edges. Clean the glass with water and then dry it with a towel. Set the clear base aside.
Number the pattern pieces on 2 copies of the fish pattern. This will simplify the assembly later. Cut the pattern up with scissors. Use a glue stick to hold the paper pattern pieces on the glass. Cut the glass as close to the pattern as possible. Remove the excess glass with running pliers and grozing pliers. Use the same method to cut and shape the fish scales.
Save your scrap pieces to make the open and airy background pieces of the tray.
Grind the cut fish pieces to remove any sharp edges. Clean the ground glass with water and then dry the pieces with a towel. Arrange the ground fish pieces on the clear base layer. Glue the pieces to the base with fuser’s glue. Let the glue dry before moving to the next step. Otherwise, the glass will slide around when you apply the frit.
Using a spoon, pour fine Cobalt blue frit on the fish. Gently sweep it into the gaps with a small paint brush. This adds contrast and detail to the design. Run a line of frit down the top and bottom fins. Use a narrow paint brush to make a scalloped design in the frit. Remove any excess frit with the brush.
Tropical Fish Tray by Lisa Vogt
Sift medium blue opal powder frit on the fish head, tail and small fin. Clean up the edges and make them crisp with a small brush. Sprinkle medium white frit on the head and tail. Place a small scrap of black on the head to make the mouth. Arrange a premade dot on the head for the eye.
Making eyes. I have a little container full of fused glass dots that I pull from when making projects that have eyes. To make dots I cut ¼ inch squares out of white glass. I cut 1/8 inch squares out of a black backed dichroic glass. The small dichroic square is stacked on the white glass and glass is fired to a full fuse temperature using the guide below. The small pieces plump and ball-up during firing. They make super cute, expressive eyes for a variety of projects.
Cut the border base layer out of clear glass. Cut a second layer out of white glass. Stack the white strips on the clear strips.
Cut ¼ inch wide strips of glass out of clear glass and colors that complement the fish colors. Using mosaic nippers trim the strips into small squares.
Arrange the glass border and the assembled fish on a primed, or a fiber paper lined kiln shelf. Place the cut squares and scrap on the kiln shelf around the border and fish. For nice, individual round shapes make sure there’s adequate space between each of the little pieces. (If they, touch you’ll end up with ovals and wiggly worms.) Note: It’s not necessary to grind the scrap before firing. The organic shapes they create add softness to the design.
Tropical Fish Tray by Lisa Vogt
Yes, laying out all of these tiny pieces is tedious. Tough it out. The dots and dashes made from the scrap are worth the extra effort. I promise you’ll love the variety of shapes and increased selection you have to choose from when you assemble the tray background. Plus, you can use the extras dots and dashes in future projects.
Tropical Fish Tray by Lisa Vogt
Fire the glass to a full fuse temperature using the guide below.
Place the fused fish inside the fused border on a primed or fiber paper lined kiln shelf. Fill in the open background space with the dots and dashes made from scrap. Make sure the pieces are in contact with each other, the border and the fish to connect the entire project together.
Tropical Fish Tray by Lisa Vogt
Dots and Dashes bowl bonus project. This adorable bowl was inspired by the fun, organic shapes made by fusing the randomly shaped scraps left over from cutting the fish. I had so much fun laying out the fish background, I couldn’t stop myself from doing more. This little gem is so simple and super fun. Just draw a 6 inch circle on shelf paper. Arrange leftover dots and dashes inside the pencil line. Fill the space. Make sure the pieces of glass are in contact with each other to connect the whole circle.
Tropical Fish Tray by Lisa Vogt
Fire the assembled pieces to a tack fuse temperature using the guide below.
Carefully place the tacked fish tray on a ceramic mold. Place the small bowl on a ceramic mold. Slump the tray and bowl using the project specific guide below. This gentle slumping guide works well for pieces that are delicate and have open spaces in the background. The temperature is lower than usual, and the hold is longer. This conservative slump guide ensures these glass projects retain their size and shape, without stretching, during heating and slumping.
This project evolved as I went along. I started with the free-form fish design. Then I liked the idea of incorporating an open background that mimicked bubbles. I was concerned, strength wise that the tacked dots might not be strong enough to support the weight of the fish. That’s when the border idea came to me. The border would give the project a nice visual frame and add support to the overall tray.
In the end, I’m happy with the unexpected mix of techniques and the way the tray came out. Design wise, I like how the clean straight lines of the white border contrast the bright, fluid background. And I’m pleased with the way the stylized fish brings uplifting, aquatic summertime activities and memories to my mind. I hope you have as much fun as I did making a Tropical Fish Tray of your own.
Tropical Fish Tray as seen in Glass Patterns Quarterly Summer 2019
Great fused glass artwork is no accident. It’s meticulously planned, skillfully executed and artistically presented in an aesthetically pleasing way. Exceptional artwork is the product of several elements. When combined they engage and captivate the viewer.
These key characteristics are present in all great art. Keep them in mind when designing new work. Apply them when possible, and you’ll immediately see a powerful rise in the quality of your finished art.
How to create great artwork.
Mediterranean Shift from Advanced Glass Fusing Video
1 Design a pleasing composition.
Composition refers to the placement of design elements within the artwork. By placing elements in a triangular fashion, you create wanted tension viewers find irresistible. Unless the pattern is a geometric grid, I avoid having elements in a straight line vertically or horizontally, it lacks fire.
Dicro Dishes from Advanced Glass Fusing Video
2 Select an appealing color palate.
Pick a color palate and stick with it. This shows artistic planning which increases the continuity of the work. When deciding on colors, I pick a setting and then choose colors appropriate for that landscape. For example, if I select a New England Shore as my setting I’d use soft celery green, medium blue, light amber and earth tones. Whereas, a Caribbean beach setting would call for vivid Amazon green, aqua blue, bright yellow and white.
Pisces from Advanced Glass Fusing Video
3 Engage the viewer with a focal point.
I believe all designs even geometric patterns can benefit from having a focal point. A focal point is something of interest that stands out from the background. It anchors the viewers eye and engages their imagination longer than the same piece with no focal point. It can be as simple as a high contrast color, a unique shape or an unexpected line.
Carnival Flow from Advanced Glass Fusing Video
4 Add visual or physical texture.
Texture invites discovery. It adds a third dimension that amps up the visual intricacy and perceived value of artwork. Include texture and your work will jump off the page.
Moss from Advanced Glass Fusing Video
5 Add pattern.
Pattern is a terrific way to dress up basic shapes to make them more unique and appealing. It’s also a great tool you can use to reinforce a specific design theme. For example, a basket weave pattern would be a nice addition to a design featuring bamboo shoots. Likewise, brightly colored straight lines could be used to represent a towel that enhances a tropical beach scene.
Arctic Freeze for Advanced Glass Fusing Video
6 Combine advanced techniques.
Combining techniques is fun and adds dramatic interest to fused glass art. Even simple applications deliver high impact results. Create several component pieces. Try arranging them in several different ways until one makes each piece more interesting than it was alone.
Tropical Tango by Lisa Vogt
7 Design dramatic imagery.
Including dramatic imagery is a great way to make art memorable. Give the viewer a solid pictorial subject to digest. It’ll grab hold of them and not let go. Viewers easily connect with recognizable focal points.
Grape Tulip from Creative Shapes Video
8 Give your work an exciting shape.
Break free from the confines of expected shapes. Color outside the lines. Offer us a fresh new profile. It’s easy to notch or bump out a square. Add a curved edge to a rectangle. Scallop the outside of a circle. Your work will approve.
Envy from Advanced Glass Fusing Video
9 Give your work sculptural form.
This is the single most effective way to elevate your work from craft to fine art. Combine different slumping molds to create a unique freestanding shape all your own. Or build a mold by draping fiber blanket over kiln posts. The possibilities are endless.
Reflection form Advanced Glass Fusing Video
10 Follow through with a unique display.
You have a vision for your art. Carry that enthusiasm to the end. Consider making a display stand that contributes to the artwork’s energy and makes it impossible to forget.
In the end, we want to connect with the viewer through our art. We want to stir emotion, deliver a message or fascinate their sense of wonder. Whatever your intention, a well-planned project made with insightful design theories will make your artwork great!
For more in depth instruction check out my Advance Glass Fusing Video.
