Seahorse and Shell Dish Mold Brief Instructions for Each Option Spray

Total Page:16

File Type:pdf, Size:1020Kb

Seahorse and Shell Dish Mold Brief Instructions for Each Option Spray REUSABLE MOLDS FOR GLASS CASTING There are only two choices for sure the spray reaches all the inner primers: Hotline Primo™ Primer surfaces. Do not saturate the sur- and ZYP BN Lubricoat™ (former- face. You should not see “pools” ly MR-97). The ZYP is the easiest of product forming on the surface. to apply and remove. It is an If it is the first time ZYP has been aerosol and, after firing, brushes applied to the mold, it is necessary off easily from the molds and can to apply a second coat of the be washed off the glass pieces. product. Castings created using ZYP have exceptionally smooth surfaces and almost never require grinding or Seahorse and Shell “cold work.” Dish When applying or removing either In one firing create a graceful of these two primers, it is advis- dish for holding soap on a vanity, able to wear a dust mask. or jewelry or change on a dress- er. Make the casting exceptional Primo is a traditional kiln wash by fusing a cutout of dichroic or that is applied with an artist’s iridized glass onto the back in a brush. It’s a trusted and proven second firing. product, but requires a bit more Before applying the second coat, nnn “elbow grease” to remove after let the mold dry for five minutes. firing. Primo’s advantages are its Apply the second coat using an- low cost and availability. other four to five-second burst of The Seahorse and Shell Dish mold Brief instructions for each option spray. Let the mold dry for ten to can be filled with frit, broken sheet follow: fifteen minutes before filling. glass, casting rocks, or billet Again, the double coat of ZYP chunks. The larger the glass To apply ZYP, work in a well ven- only need be applied the first time pieces, the more clarity the final tilated area or outside, and hold the mold is used. Thereafter, only casting will have. the well-shaken can 10 to 12 inch- one coat is necessary. For more es from the mold. Hold both the information about ZYP, visit Getting Started mold and the spray can upright. Colour de Verre website’s Learn Always start the same way: Clean Apply the first coat using a four to section. There, download and read your Colour de Verre Seahorse five-second burst of spray in a “Advanced Priming with Boron and Shell mold with a stiff, nylon sweeping pattern across all the Nitride Aerosol” and watch the brush to remove any old kiln wash. mold’s cavities. While spraying, video “Priming with ZYP BN Lu- (This step can be skipped if the slightly tilt the mold back and bricoat.” mold is brand new.) forth and left and right to make To o l s Supplies Availability ✓A Colour de Verre Seahorse and ✓Hotline Primo Primer™ or ZYP Colour de Verre molds are avail- Shell Dish mold BN Lubricoat (formerly MR-97) able at fine glass retailers and ✓Large artists’ brush ✓Assorted frits, sheet glass, billets, many online merchants including ✓Digital scale casting rocks, etc. our online store, ✓Dust mask www.colourdeverre.com. REUSABLE MOLDS FOR GLASS CASTING If you choose to use Primo Primer, primed mold with 750 grams of mix one part dry primer powder glass. Slightly mound the glass as with four parts water. Next, give shown in the photographs. the molds five coats of Hotline Primo Primer™. Firing the Molds Place the filled mold into the kiln. Apply the Primo Primer™ with a Use either Casting Schedule #1 or soft artist’s brush - not a hake Casting Schedule #2 depending brush - and use a hair dryer to on the materials used to fill the completely dry each coat before molds. Don’t rush the schedule’s applying the next. The mold slow cooling ramp as this allows should be totally dry before filling. We find a convenient choice for for proper annealing. Also note The primer need not be pre-fired. filling this mold is mosaic size frit. that the schedules need to be mod- Choose light, transparent colors as ified for kiln load, COE, and glass One important hint: This primer the color will intensify as the color. Heating element position settles very quickly. Each time the casting is much thicker than can also effect firings. Use lower brush is dipped, be sure to give the standard sheet glass. That said, frit temperatures when using a top primer a good stir so all the ingre- of any mesh, billets, or casting element kiln. dients stay in solution. If the rocks can be used. If you are using primer has sat more than five opal frits, better results are Base Feet minutes, the active ingredients will obtained by mixing the opal frit Give cast boxes a professional fin- cake on the container’s bottom. with an equal amount of clear frit. ish with the addition of feet. Use Make sure to stir these sediments An economical choice is to use peel-and-stick, silicon cabinet back into solution. leftover sheet glass that has been bumpers, e.g. 3M Bumpon™, available from most hardware Filling the Molds cut or broken into small chunks. The molds are intended to be used Whatever the glass type, fill the with COE 96 or COE 90 art glass. Casting Schedule #1* Colour de Verre molds should not be used with borosilicate, Pyrex, For Fine and Medium Frit crushed bottles, or float glass. High Segment Ramp Temperature Hold temperatures can have negative 1 300ºF/165ºC 1250ºF/675ºC 30 minutes effects on both the molds and the 2 300ºF/165ºC 1410-1420ºF/765-770ºC 10-20 minutes primers. When using frits, 3 AFAP 960ºF/515ºC 60 minutes especially powders, it is advisable 4 50ºF/30ºC 800ºF/425ºC None to wear a dust mask. 5 100ºF/60ºC 400ºF/200ºC Off. No venting Casting Schedule #2* For Sheet and “Chunky” Glass Segment Ramp Temperature Hold 1 300ºF/165ºC 1250ºF/675ºC 30 minutes 2 300ºF/165ºC 1430-1440ºF/775-780ºC 30-45 minutes 3 AFAP 960ºF/515ºC 60 minutes 4 50ºF/30ºC 800ºF/425ºC None 5 100ºF/60ºC 400ºF/200ºC Off. No venting * Schedule for COE 96. For COE 90, increase casting temperature by 15ºF/8ºC. AFAP means “As Fast As Possible”, no venting. REUSABLE MOLDS FOR GLASS CASTING stores. This will also protect table- Variation: Backing the Piece Place the sheet of glass on the tops. Exceptional results can be created workbench. If the glass is coated (iridized or dichroic), make sure Variation: Filling Sea life by backing the cast piece with a the coated side is down. A great effect can be created by sheet of colored, iridized, or filling the seahorses and/or small dichroic glass. shell with a contrasting frit color. Cast the Seahorse and Shell Dish as described above in either Clear or a light, transparent color using mosaic frit, glass sheet pieces, cast- ing rocks, or billet pieces. (This will ensure the greatest clarity.) Fire the Use the template to cut a backing piece from the sheet glass. Careful- ly place the piece of glass into the Again, starting with a freshly mold on top of the casting. If the primed mold, sift a small amount backing piece was cut from either of Black powder into the sea hors- iridized or dichroic glass, make es and small shell. This will accen- sure the coating side is down, fac- tuate the mold’s fine detail. Next, ing the casting. It is often helpful stabilize the powder by adding a mold using Casting Schedule #2. fine frit to fill the depressions. The When the kiln and mold cools, fine frit can be the same color as remove the mold from the kiln and the glass chosen for the body or a remove the casting. Wash the cast- contrasting color. ing to remove any traces of primer. Clean and reprime the mold and carefully place the casting back into the mold. Backing Schedule* Segment Ramp Temperature Hold 1 150ºF/85ºC 300ºF/150ºC 30 minutes 2 250ºF/140ºC 1250ºF/675ºC 10 minutes Fill the rest of mold in the matter 3 300ºF/165ºC 1420ºF/770ºC 10-20 minutes described in the previous section. Make sure that the total amount 4 AFAP 960ºF/515ºC 60 minutes of glass in the mold is 750 grams. 5 50ºF/30ºC 800ºF/425ºC None 6 100ºF/60ºC 400ºF/200ºC Off. No venting * Schedule for COE 96. For COE 90, increase target temperature by 15ºF/8ºC. AFAP means “As Fast As Possible”, no venting. REUSABLE MOLDS FOR GLASS CASTING to use a small dab of white glue to hold the sheet glass in place. Return the mold and glass back to the kiln and fire using the Backing Schedule. Frit from Uroboros. Brocken double thick sheet glass from Spectrum. Dichroic sheet glass from CBS Coatings by Sandberg. Seahorse and Shell Dish Template This Side Against Glass.
Recommended publications
  • Bullseye Glass Catalog
    CATALOG BULLSEYE GLASS For Art and Architecture IMPOSSIBLE THINGS The best distinction between art and craft • A quilt of color onto which children have that I’ve ever heard came from artist John “stitched” their stories of plants and Torreano at a panel discussion I attended a animals (page 5) few years ago: • A 500-year-old street in Spain that “Craft is what we know; art is what we don’t suddenly disappears and then reappears know. Craft is knowledge; art is mystery.” in a gallery in Portland, Oregon (page 10) (Or something like that—John was talking • The infinite stories of seamstresses faster than I could write). preserved in cast-glass ghosts (page 25) The craft of glass involves a lifetime of • A tapestry of crystalline glass particles learning, but the stories that arise from that floating in space, as ethereal as the craft are what propel us into the unknown. shadows it casts (page 28) At Bullseye, the unknown and oftentimes • A magic carpet of millions of particles of alchemical aspects of glass continually push crushed glass with the artists footprints us into new territory: to powders, to strikers, fired into eternity (page 31) to reactive glasses, to developing methods • A gravity-defying vortex of glass finding like the vitrigraph and flow techniques. its way across the Pacific Ocean to Similarly, we're drawn to artists who captivate Emerge jurors (and land on the tell their stories in glass based on their cover of this catalog) exceptional skills, but even more on their We hope this catalog does more than point boundless imaginations.
    [Show full text]
  • Download New Glass Review 21
    NewG lass The Corning Museum of Glass NewGlass Review 21 The Corning Museum of Glass Corning, New York 2000 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dass sie in- the 1999 calendar year. nerhalb des Kalenderjahres 1999 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Review konnen angefordert werden bei: The Corning Museum of Glass Buying Office One Corning Glass Center Corning, New York 14830-2253 Telephone: (607) 974-6479 Fax: (607) 974-7365 E-mail: [email protected] All rights reserved, 2000 Alle Rechte vorbehalten, 2000 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-147-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81-641214 Table of Contents/In halt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 16 1999 in Review/Ruckblick auf 1999 36 Bibliography/Bibliografie 44 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 73 Jury Statements Here is 2000, and where is art? Hier ist das Jahr 2000, und wo ist die Kunst? Although more people believe they make art than ever before, it is a Obwohl mehr Menschen als je zuvor glauben, sie machen Kunst, "definitionless" word about which a lot of people disagree.
    [Show full text]
  • Understanding Firing Schedules
    Understanding Firing Schedules Learn about the components of a glass fi ring schedule so you can create your own schedule for any project you want to try. BASICS – Ramp - Temperature - Hold HEATWORK – Time/Temperature Tango. COE – how it aff ects fi ring schedules. VISCOSITY – how it aff ects fi ring schedules. THICKNESS– how it aff ects fi ring schedules PREDICTION - ending accidents. ANNEALING – how and why EVENIVITY– the magic word. VOLUME CONTROL SPECIAL SCHEDULES for special eff ects. My Personal Promise The temperatures and times I refer to here for fi ring schedules are not guesswork and are not copied from comments of others. There are the result of 40 years working as a glass artisan and over 20,000 kiln fi rings. I made it a point to do comparison tests to rigid standard. Some of those tests are included in chapters here. Dennis Brady Glass Campus Publishing Understanding Firing Schedules CONTENTS CONTENTS Cover ……………………. 1 Slump ………………………21, 22 Index …………………….. 2 Drops ………………………23 Introduction …………….. 3 Fuse ………………………..24 Attitude ………………….. 4 Casting …………………….25 COE ………………………..5, 6 Heatwork …………………..26, 27 Viscosity …………………...7 Evenivity …………………...28, 29, 30 Compatibility ………………8, 9 Adapting Schedules ………31, 32 Definitions …………………10 Special Schedules ………. 33, 34, 35 Ramp ……………………...11, 12, 13 Creating Schedules ……….36 Hold ………………………..14 Volume Control ……………37, 38 Temperature ………………15, 16 Question Everything ……...39, 40, 41 Anneal …………………… 17, 18 Keep Records ……………..42 Drape ………………………19, 20 2 Understanding Firing Schedules Introduction What happens to glass when fired in a kiln depends directly on the firing schedule. When you first learn to fuse and cast glass, you start by using firing schedules created by others.
    [Show full text]
  • Baltic Glass the Development of New Creative Models Based on Historical and Contemporary Contextualization
    Vesele, Anna (2010) Baltic Glass The development of new creative models based on historical and contemporary contextualization. Doctoral thesis, University of Sunderland. Downloaded from: http://sure.sunderland.ac.uk/3659/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. Baltic Glass The development of new creative models based on historical and contemporary contextualization Anna Vesele A thesis submitted in partial fulfilment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy Faculty of Arts, Design and Media, University of Sunderland April 2010 1 Abstract The aim of this research was to demonstrate the creative potential of a particular type of coloured flat glass. This glass is produced in Russia and is known as Russian glass. The present researcher has refined methods used by Baltic glass artists to create three- dimensional artworks. The examination of the development of glass techniques in Estonia, Latvia and Lithuania was necessary in order to identify these methods and to contextualize the researcher’s personal practice. This study describes for the first time the development of glass art techniques in the Baltic States from the 1950s to the present day. A multi-method approach was used to address research issues from the perspective of the glass practitioner. The methods consisted of the development of sketches, models and glass artworks using existing and unique assembling methods. The artworks underlined the creative potential of flat material and gave rise to a reduction in costs. In conjunction with these methods, the case studies focused on the identification of similarities among Baltic glass practices and similarities of approach to using various glass techniques.
    [Show full text]
  • Colour De Verre Molds
    REUSABLE MOLDS FOR GLASS CASTING Always start the same way: Clean surface. If it is the first time ZYP your Colour de Verre box lid and has been applied to the mold, it is base with a stiff, nylon brush or a necessary to apply a second coat green 3M Scotch-Brite™ pad to of the product. remove any old kiln wash. (This step can be skipped if the mold is brand new.) There are two choices for primers: Hotline Primo™ Primer and ZYP B N L u b r i c o at ™ ( fo r m e rl y Box Basics MR-97). The ZYP is the easiest to This project sheet provides the apply and remove. It is an aerosol reader with all the basics – fill and, after firing, brushes off easily weights, schedules, and tech- from the molds and can be washed niques – for using Colour de off the glass pieces. Castings cre- Verre’s box base and lid casting ated using ZYP have exceptionally molds. The resulting pieces can smooth surfaces and almost never “stand alone” or can be embell- Before applying the second coat, require grinding or “cold work.” ished with other Colour de let the mold dry for five minutes. Verre designs. When applying or removing either Apply the second coat using an- nnn of these two primers, it is advis- other four to five-second burst of able to wear a dust mask. Bullseye spray. Repeat this process with the highly recommends using ZYP lid mold using a two to three-sec- Each design consists of two molds.
    [Show full text]
  • Tips for Thin Castings
    REUSABLE MOLDS FOR GLASS CASTING First some background: There is a Many of these molds have built-in force called “surface tension.” Sur- slumpers to add “life” to the final face tension causes any liquid to piece. A slumping schedule is also “bead up.” (An everyday example included. is the way rain drops bead up on a car’s hood.) If glass is hot enough, COE 96 Firing Schedule it will bead up, pull away from the Seg 1! 300˚F/hour to 1350- mold’s edges, and thicken. 1375˚F, Hold 10 minutes Here are the secrets to thin cast- Seg 2! AFAP (As Fast As Possi - ings with fine details: ble) to 960˚F no vent- ing. Hold 30 minutes Tips for Thin Castings ✓Use the Thin Fire fill weighs Seg 3! Off, cool kiln, no vent - As people become more experi- that can be found in “Fill enced with our molds, they start ing Weights at a Glance.” This wanting thinner and more deli- cate castings. Let us pass along lower fill weight is usually about these hints and advice to achieve two-thirds to half the fill weight COE 90 Firing Schedule that goal. shown on the packaging. One can add more or less frit to cus- Seg 1!300˚F/hour to 1375- nnn tomize the casting size. 1400˚F, Hold 10 minutes Seg 2!AFAP (As Fast As Pos - Use fine frit. It requires less ✓ sible) to 960˚F no vent- Many of our newer designs look heat work to conform the ing. Hold 30 minutes best when cast very thin.
    [Show full text]
  • For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2019
    For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2019 $7.00 U.S. $8.00 Canada Volume 34 Number 3 www.GlassArtMagazine.com KilnMaster Touchscreen Programming just got really cool! • Built-in Wifi and Free App • Write and Name Your Own Programs • Remote Monitoring • Help Screens for Every Feature • Navigates like your Smartphone • Graphing • Hinged Controller for Perfect Angle • Logging • Built-in Library of Programs • Improved Diagnostics ...and so much more skutt.com/kmtwww.Skutt.com/kmt Touchscreen ControllerV3.indd 1 8/16/18 8:09 AM May/June 2019 Volume 34, Number 3 6 Independent Artist From Wind and Water to Pâtisserie The Evolution of Shayna Leib’s Sculpture by Shawn Waggoner 14 Hot Glass Studio Profile Cheyenne Malcolm’s Personal Retrospective The Artist Behind Canned Heat Glass Studios by Shawn Waggoner 20 Functional Glass Nick Deviley The Glassroots Art Show Moves to Asheville by Shawn Waggoner 26 Personal Development Creativity—Using the Rhythm and Harmony of Multiples by Milon Townsend 29 What's New 30 Winning Glass Contemporary Glass Initiatives from The Corning Museum of Glass by Kimberly Thompson 34 GAS News GAS + British Glass Biennale New Partnership and Award Supports Worldwide Innovation and Collaboration by Tess McShane for the Glass Art Society 36 Warm Glass Studio Profile Vitrum Studio’s Judith Finn Conway and Kevin O’Toole Educating a New Generation of Kiln Forming Artists by Shawn Waggoner On the cover: Shayna Leib, 6 species. Photo by Eric Tadsen www.GlassArtMagazine.com Glass Art TM • May/June
    [Show full text]
  • Fusing Fusing
    ® Artist Robert Wiener FusingFusing ToolsTools && AccessoriesAccessories ProductProduct CatalogCatalog www.dlartglass.com © 2019 D&L Art Glass Supply © 2019 D&L Art Glass Artist Nancy Bonig 303.449.8737 • 800.525.0940 Table of Contents About the Artwork Cover - Artist: Robert Wiener, DC Art Glass Series: Colorbar Murrine Series Title: Summer Salsa Size: 6" square (approx.) Website: www.dcartglass.com Photographer: Pete Duvall Table of Contents- Alice Benvie Gebhart Title: Distant Fog Size: 6 x 8" Website: www.alicegebhart.com Kilns ..........................................................................1-16 Tabletop Kilns .......................................................................................................... 1–3 120 Volt Kilns ............................................................................................................1-5 240 Volt Kilns ........................................................................................................ 6-12 Kiln Controllers at a Glance .....................................................................................13 Kiln Shelves .......................................................................................................... 14–15 Kiln Furniture and Accessories ................................................................................16 Kiln Working Supplies ....................................... 17-20 Primers & Shelf Paper ...............................................................................................17 Fiber Products & Release
    [Show full text]
  • GAS-Pcb12web.Pdf
    Contents 2. 1962-2012: 50 Years of US Studio Glass 3. About the Glass Art Society 4. GAS 2012 Sponsors • The Cuban Missile Crisis – the world stands on the brink of nuclear war • Brazil wins soccer’s World Cup • Nelson Mandela is jailed in South Africa 5. From the President: About the Conference • Gas costs 28 cents per gallon • Johnny Carson debuts as host of The Tonight Show • The first Beatles single, “Love Me Do”, is released in England 5. From the Co-Chairs: Welcome to Toledo • The first Pop Art group exhibition opens in an “uptown gallery” in New York City • Millions of children receive Sabin’s new oral polio vaccine 6. Opening Ceremonies & Other Special Events: • 1st anniversary of the Berlin Wall • Telstar, the world’s first active communications satellite, is launched • First Australian National Ballet performance • Award Recipients • Keynote Speaker • Civil Rights flashpoint: In spite of riots, James Meredith becomes the first black student to enroll at University of Mississippi • Pre-Conference Reception — A Fundraiser • John H. Glenn, Jr., becomes first American to orbit the earth during Friendship 7’s orbit • The Space Needle opens in Seattle for the World’s Fair • Closing Night Party & Fashion Show • Additional Special Events 8. Conference Presenters & Presentations 10. Preliminary Conference Schedule 12. Conference Venues 13. Accommodations in Toledo / Getting There 14. Tours: Collectors Tour & Area Tours 15. Technical Display 15. Advertising & Sponsorship Opportunities The workshop’s batch 16. Student & School Opportunities: was made with fiberglass • Artist Portfolio Review marbles obtained by Labino from Johns Manville. • Education Resource Center TMA has some of these • International Student Exhibition & Sales marbles on view.
    [Show full text]
  • Bullseye Glass Catalog 12
    Bullseye Glass CATALOG for Art and Architecture 12 CONTENTS SHEET GLASS What to Expect 2 Get a Reaction 3 Opalescent 4 Black & White 6 Tekta 7 Transparent 8 Irid & Textured 12 Cascade and Infusion 17 Streaky 18 Collage 20 Ring Mottles 22 ACCESSORY GLASS Billets 24 Frit 26 Stringer 32 Rods 34 Confetti & Murrine 38 Dichroic Glasses 39 ASSORTMENTS Glass Packs 40 Bullseye: More Than Glass Sample Sets 41 The Bullseye Factory in Portland, Oregon makes thousands of glass products in an unsurpassed color palette, using state-of-the- TOOLS & SUPPLIES art systems to protect the environment. We're also hard at work Cutting Tools 42 supporting the people who use our glass. Kilnwork Tools & Supplies 44 Bullseye Resource Centers are one-stop destinations for the full Coldwork & Finishing 45 Bullseye glass product line, all the tools to work with it, and classes Print & Glass 46 for all levels in a supportive, inspirational environment. You’ll find Kilncasting 48 them in the Bay Area, Los Angeles, New York, Portland, and Santa Fe. Torchworking 48 Molds 50 Bullseye’s Klaus Moje Research & Education Department tests Kiln Supplies 54 products and develops educational resources—classes, technical articles, FAQs, video lessons—as well as provides support to our Kilns 56 customers through the Bullseye Forum. Safety 59 Display 60 Bullseye Studio assists artists and designers from around the world, helping them realize their design and often developing new approaches to kilnforming in the process. MEDIA Books 62 Bullseye Projects offers exhibitions by international artists working Charts & Posters 65 in kiln-glass, as well as educational programming, collaborations, and residencies that push the conceptual, technical, and aesthetic TechBook & Video Lessons 65 boundaries of the medium.
    [Show full text]
  • Glass Fabrication
    RESOURCE + PROCESS MANAGEMENT Glass fabrication Rima Ajlouni The University of Utah, Salt Lake City, UT ABSTRACT: In architecture, the prevalence of computational design and digital fabrication has led to an increase in exploration of casting modulated geometry using fabricated molds. However, the use of mold making strategies are often limited to casting materials that conform easily to mold geometry (i.e. concrete, plaster, resin, ceramics, etc.). It is rarely that fabrication strategies are used to explore materials with challenging behavioral properties such as glass. As a result, glass in its non-flat form has been underutilized in contemporary architecture. Because of its complicated physical behavior and the technical difficulties associated with the fabrication processes, architecture education often avoids exploring such medium. One key challenge with casting glass using fabricated refractory molds relates to understanding the behavior of glass under certain physical conditions and temperature profiles. If such parameters are not anticipated, the geometry of the final casted elements can be substantially different from the design intentions. This research argues that computation can be used to predict glass forming behavior under different temperature profiles, which can inform the design and fabrication processes. The goal is to highlight the importance of integrating the complexities of the physical reality into the design and fabrication processes, especially within the context of the educational experience. To contribute to this creative discourse this paper explores the limits of precision from computation to fabrication as it relates to casting glass. The objective is to design and test an algorithm for predicting edge/corner geometry of casted glass under different temperature profiles.
    [Show full text]
  • An Empirical Approach to Colour in Glass
    arts Article An Empirical Approach to Colour in Glass Heike Brachlow School of Arts & Humanities, Royal College of Art, London SW7 2EU, UK; [email protected] Received: 1 December 2018; Accepted: 15 January 2019; Published: 18 January 2019 Abstract: This paper focuses on the characteristics and use of transparent homogenous coloured glass for cast glass sculpture. It provides an overview of glass colouring agents and their characteristics, and establishes factors that influence the appearance of colour in glass. Methods to visually evaluate appropriate colour density for a given form are discussed, as well as essential characteristics that a form must possess to achieve results within a density threshold area, where coloured glass changes in value and/or hue between thick and thin sections. Keywords: colour; volume colour; glass; glass casting; glass sculpture; glass art; optics; density threshold 1. Introduction Colour in glass is an extensive subject and one that I have been researching for many years, with a focus on colours for kiln cast solid glass sculpture. A given form’s appearance can change drastically depending on its colour, and on whether it is transparent, translucent or opaque. Colour decisions are of critical importance to glass artists—they can ‘make or break’ a work. Many glass artists’ approach to choosing colour may be loosely defined as ‘hit and miss’, a method which becomes more reliable as an artist’s experience increases. While glaze testing is an integral part of ceramics methodology, this approach is not always suitable for glass. Although glass artists do employ colour tests, especially when working with frits and powders or designs with multiple colours, to obtain effective test results on how a transparent colour works within a form, one would have to test at full scale, and essentially make a duplicate of the form, the first one being the test.
    [Show full text]