DOCSLIB.ORG

Tips for Thin Castings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. These smaller particles to the mold’s Seg 3!Off, cool kiln, no vent - designs included: surface. ing • All our leaves, e.g. Oak ✓Use lower temperatures. These Leaves and Acorns, Tropical accompanying schedules are Leaves, Assorted Small designed to barely fuse the frit Slumping Schedule Leaves, and Leaves (3) particles together, but before Seg 1!300˚F/hour to 1225- All our flowers, e.g. Dog- the glass becomes fluid. At the • 1250˚F, Hold 5 minutes wood, Rose, Blossoms, Small low end of the temperature Seg 2!AFAP (As Fast As Pos - Mixed Blossoms 1 and 2, range, the piece will have a sible) to 960˚F no vent- and Lotus matte, “sugar fire” finish. At the high end; a glass-like finish. ing. Hold 30 minutes • Honey Bees, Small Dragon- Seg 3!Off, cool kiln, no vent - flies, Small Butterflies Every kiln is different and firing ing schedules can be affected by glass • Lily Pad and Frog thickness, number of pieces in the firing, number of kiln shelves, A complete list of designs to which whether the kiln has top and/or this applies is in “Fill Weights at a side elements, and even glass color. Availability Glance.” This document is located Colour de Verre molds are However, here are two firing in Colour de Verre’s Project Ideas available at fine glass retailers schedules – one for COE 90 and section. and many online merchants one for COE 96 – that can serve including our online store, Just how do you go about getting a as starting points for thin, fully www.colourdeverre.com. thin, light weight casting? fused, finely detailed castings. May 2009 REUSABLE MOLDS FOR GLASS CASTING Create the Ginkgo Leaves If you prefer, you can use boron Before each firing, clean your nitride aerosol primer. (We used molds with a stiff nylon brush to this for our project) We recom- remove any old kiln wash. (This mend ZYP exclusively. You can can be skipped if the molds are read more about this in Advanced brand new.) Priming with Boron Nitride Aerosol which can be found in our web- site’s Project Ideas section. The ginkgo leaves are cast from a combination of fine Moss Green and fine Yellow frit. To create vis- Ginkgo Plate ual interest, three different frit This low, shallow plate is a combinations are used. great accent for a dining room table. nnn Give each mold cavity four thin, Given the finished piece, one even coats of Hotline Primo might think of this as too complex Primer. Each gingko mold has six a project for a beginner. Actually, mold cavities built in, but since this project can be completed by there are three on each side, only people new to glass casting. The three ginkgo leaves can be cast per trick is to approach the project as firing. It is not necessary to prime mold cavities that won’t be filled. four “mini projects”: Combination #1: Hotline Primo™ primer is the 30% fine Moss Green • Create a collection of ginkgo castings. Make more than you only conventional primer we rec- 70% fine Yellow ommend because it doesn’t ob- expect to use so that you can ex- Combination #2: periment with various layouts. scure the mold’s fine detail and is easy to remove after firing. Use a 40% fine Moss Green 60% fine Yellow • Fuse two pieces of sheet glass soft brush to apply the primer and together to create the panel. a hair dryer to completely dry Combination #3: each coat before applying the next. 50% fine Moss Green • Tack the cast leaves to the panel. The mold should be completely 50% fine Yellow • Slump the panel using a shallow dry before filling. form. Tools Supplies Availability ✓Ginkgo Leaves mold ✓Hotline Primo Primer or ZYP Colour de Verre molds are ✓Small and Large artist’s brush ✓Fine Moss Green and Yellow frit available at fine glass retailers ✓Small containers for mixing frit ✓Moss Green Frit and Stringer on and many online merchants Digital scale Clear; Clear and White Streaky including our online store, ✓ www.colourdeverre.com. ✓Assorted kitchen measuring sheet glass spoons ✓Powder Black frit. REUSABLE MOLDS FOR GLASS CASTING Combine the two frit colors in lid- piece according to the Tack Fuse ded containers and shake to com- Schedule. bine. (Empty frit jars work per- fectly.) Whenever mixing frits, it is highly advisable to wear a dust mask. As mentioned above, each mold has six casting cavities, three on each side. The fill weights for Side A, the side with the “Ginkgo Leaves” text are 9, 9, and 9 grams. per. Stack the Moss Green frit and the fill weights for Side B, the side stringer glass on top of the white with the copyright text, are 15, 7, and clear streaky glass. Place the Slumping the Panel and 14. stack in the kiln and fire according Place the panel into a primed to the Sheet Glass Fusing Schedule slump mold. Slowly fire the piece To accentuate the subtle veining, below. sprinkle ¼ to ½ gram (a pinch) of according to the Slumping Sched- black frit into each cavity. Hold the Attaching the Elements ule. It is important not to rush the mold in place with one hand and Remove the fused panel from the firing as there is quite a bit of use the other to tap the mold. This kiln and place on the workbench. thickness variation. will cause the black powder to set- Create a pleasing arrangement of Variations ting into the mold’s shallow groves. ginkgo leaves on the fused panel. There are many combinations of Using the fill weights mentioned Use small dabs of white glue to sheet glass and frit color for which above, evenly fill the ginkgo leaves. temporarily hold the components this technique produces beautiful Lightly tap the mold to level the in place. When dry, move the results. One we found particularly frit and transfer the mold to the panel to a kiln shelf that has been pleasing was a 14” round disk cre- kiln. Fire the molds according the protected with primer or a piece of ated with Black Streamer Bits on Component Casting Schedule. ThinFire shelf paper. Fire the (See “Tips for Thin Casting” in the project section of Colour de Verre’s website.) Component Casting Schedule* Segment Ramp Temperature Hold If the castings “ball up” decrease 1 300ºF/165ºC 1340-1360ºF/725-735ºC 30 minutes either the hold time or target tem- 2 AFAP 960ºF/515ºC 30 minutes. Off perature. Given the differences * Schedule for COE 96. For COE 90, increase casting temperature by 25ºF/15ºC. AFAP means between individual kilns, it may “As Fast As Possible”, no venting. take one or two test firings to get perfect results in your particular Sheet Glass Fusing Schedule* kiln. Segment Ramp Temperature Hold 1 250ºF/135ºC 1200ºF/650ºC 30 minutes Creating the Panel 2 250ºF/135ºC 1410-1420ºF/765-770ºC 10 minutes Cut a 10x10” (25x25cm) square from each piece of sheet glass. 3 AFAP 960ºF/515ºC 60 minutes Protect the kiln shelf with primer 4 100ºF/60ºC 700ºF/370ºC Off. No venting or a piece of ThinFire™ shelf pa- * Schedule for COE 96. For COE 90, increase casting temperature by 25ºF/15ºC. AFAP means “As Fast As Possible”, no venting. REUSABLE MOLDS FOR GLASS CASTING Clear sheet backed by an off-white Tack Fuse Schedule* or Almond sheet. Segment Ramp Temperature Hold 1 200ºF/120ºC 1200ºF/650ºC 30 minutes 2 200ºF/120ºC 1260-1275ºF/680-690ºC 5 minutes 3 AFAP 960ºF/515ºC 60 minutes 4 50ºF/30ºC 800ºF/425ºC None 5 100ºF/60ºC 600ºF/315ºC Off. No venting * Schedule for COE 96. For COE 90, increase casting temperature by 25ºF/15ºC. AFAP means “As Fast As Possible”, no venting. Slumping Schedule* Segment Ramp Temperature Hold Ginkgo leaves were created using 1 100ºF/60ºC 200ºF/95ºC 15 minutes the following frit combinations: 2 100ºF/60ºC 400ºF/205ºC 10 minutes Combination #1: 3 150ºF/85ºC 1250ºF/675ºC 10-20 minutes 30% fine Medium Amber 3 AFAP 960ºF/515ºC 60 minutes 70% fine Pale Amber 4 50ºF/30ºC 800ºF/425ºC None Combination #2: 5 100ºF/60ºC 600ºF/315ºC Off.
Recommended publications
  • Bullseye Glass Co. / Classes & Special Events

    Bullseye Glass Co. / Classes & Special Events

    Bullseye Glass Co. | Classes & Special Events May to September 2012 • Emeryville, California From the Director Artist Klaus Moje at Resource Center Portland, 2007. What is Kiln-Glass? In 1974 three self-described “hippie glassblowers” started Bullseye Glass Company, a small factory for making specialty sheet glass in Portland, Oregon. While they initially focused on making colored sheets for use in stained glass, they aspired to do what had never been done before: to produce a palette of colored glasses tested to be compatible for fusing with one another for producing works in the kiln. By 1979 they had succeeded, but immediately ran into a challenge: they had created something remarkable for which almost no demand existed. Ever the innovators, they decided to embark on a long-term program of research projects working directly with artists to help pioneer and expand the technical, aesthetic and conceptual development of the field that is today known as kiln-glass. Kiln-glass is a term that describes an enormous range of techniques and outcomes that are radically more accessible than many other working methods, such as glassblowing, in which one must first develop basic physical skills for years before being able to effectively realize well-executed works. By contrast, many of the skills required for kiln-glass are things that most artists already possess: an understanding of design, composition, color theory, and the ability to conceive of layers of process and material application. And while kiln-glass does require basic knowledge of technical issues and nuances, these are readily obtained in short order through publications and curriculum that have been developed as an outgrowth of Bullseye’s years of collaboration with artists.
  • Art Glass Classes 2017 CONTENTS

    Art Glass Classes 2017 CONTENTS

    Art Glass Classes 2017 CONTENTS About Kiln-Glass 2 Kilncasting 15 Bullseye Resource Centers 3 Open Studio 17 Introductory Classes 4 Instructors 18 Kilnforming Techniques 7 Registration and Policies 23 Drawing, Painting and Printmaking 13 Locations 23 ABOUT KILN GLASS Richard Parrish. See his class on page 11. Kiln-glass provides an enormous range of levels—from glass fusing beginners to advanced kilnformers—in a techniques and results that are easily accessible. supportive and inspirational environment. Working with this remarkable material requires two things that most artists already possess: an And as you learn to do amazing things with kiln-glass, you’ll also benefit from Bullseye’s decades of research into materials, processes, understanding of design, composition, and color products, and equipment. theory; and the ability to conceive of layers of process and material application. Note: This catalog provides an overview of the kinds of courses we offer, but our Research & Education team continues to design While kiln-glass does require technical knowledge, this can be new courses. The complete schedule of offerings is available at obtained in short order through courses in this catalog, developed bullseyeglass.com/classes. You can also sign up for email updates at by Bullseye through years of collaboration with artists from bullseyeglass.com/email (we never share or sell your address). many mediums. We offer classes year round for students at all 2 BULLSEYE RESOURCE CENTERS Bullseye’s Resource Centers are world-class teaching centers, offering short courses year round for students at all levels, as well as free artist talks and demonstrations.
  • FUSED GLASS PLAID PLATE Free Fused Glass Project

    FUSED GLASS PLAID PLATE Free Fused Glass Project

    Come Join Us! FUSED GLASS PLAID PLATE Free Fused Glass Project #551 Materials List: Materials List for COE 90 or COE 96 COE 90 Item# 90905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 90915 Qty 1 Clear Sheet Glass 8 x 8 Item# 90906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 90945 Qty 1 Green Sheet Glass 8 x 8 Item# 90902 Qty 1 Light Turquoise Sheet Glass 8 x 8 COE 96 Item# 96905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 96915 Qty 1 Clear Sheet Glass 8 x 8 Item# 96906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 96945 Qty 1 Green Sheet Glass 8 x 8 Item# 96902 Qty 1 Light Turquoise Sheet Glass 8 x 8 FUSING SUPPLIES: Other Items: Item# 41513 Bullseye Shelf Paper 1 square foot or Item# 41514 Papyros Shelf Paper 1 square foot Item# 41232 Mold Curved Square (This project will work other square molds and look wonderful so do not limit yourself to just one mold.) Item# 41507 Fuser's Glue Other Materials: · Cold Polishing - (one of the following) · Grinder · Abrasive Stone · Diamond Nail File · 3M™ Diamond Coated Sanding Sponges Clean Up Supplies: · Rubbing Alcohol, Dish Washing Detergent · Cloth with very little lint (old T-shirt) Step 1 - Preparation · Grind to round each of the 4 corners of the larger square used as the base piece of glass.
  • Bullseye Glass Catalog

    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.
  • Download New Glass Review 21

    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.
  • Design and Fabrication of Nonconventional Optical Components by Precision Glass Molding

    Design and Fabrication of Nonconventional Optical Components by Precision Glass Molding

    Design and Fabrication of Nonconventional Optical Components by Precision Glass Molding DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Peng He Graduate Program in Industrial and Systems Engineering The Ohio State University 2014 Dissertation Committee: Dr. Allen Y. Yi, Advisor Dr. Jose M. Castro Dr. L. James Lee Copyright by Peng He 2014 Abstract Precision glass molding is a net-shaping process to fabricate glass optics by replicating optical features from precision molds to glass at elevated temperature. The advantages of precision glass molding over traditional glass lens fabrication methods make it especially suitable for the production of optical components with complicated geometries, such as aspherical lenses, diffractive hybrid lenses, microlens arrays, etc. Despite of these advantages, a number of problems must be solved before this process can be used in industrial applications. The primary goal of this research is to determine the feasibility and performance of nonconventional optical components formed by precision glass molding. This research aimed to investigate glass molding by combing experiments and finite element method (FEM) based numerical simulations. The first step was to develop an integrated compensation solution for both surface deviation and refractive index drop of glass optics. An FEM simulation based on Tool-Narayanaswamy-Moynihan (TNM) model was applied to predict index drop of the molded optical glass. The predicted index value was then used to compensate for the optical design of the lens. Using commercially available general purpose software, ABAQUS, the entire process of glass molding was simulated to calculate the surface deviation from the adjusted lens geometry, which was applied to final mold shape modification.
  • Crafted Architecture, an Investigation Into Handcrafted Glass Techniques

    Crafted Architecture, an Investigation Into Handcrafted Glass Techniques

    Crafted Architecture, An Investigation into Handcrafted Glass Techniques Alex Krissberg Konstfack CRAFT! Department of Ceramic and Glass Master 2 Spring 2018 Tutors: Reino Björk, Birgitta Burling, Sara Isaksson From, Hans Isaksson, Agneta Linton, Anders Ljungberg, Marie O’Connor, Johanna Rosenqvist, Bella Rune, Matt Smith Word count: 5,187 Abstract This paper is an investigation into the crossroads of traditional and contemporary glass craft techniques. Through innovative methods in the workshop I have set out to bring glass into the public sphere using the potential for handcraft in architecture. Keywords: Glass, Glassblowing, Handmade, Architectural Glass, American Studio Glass Movement, Rondel, Murrini, Cane Index Introduction 1 Background 2-5 Context 6-9 Methods: Theory (Bubbles & Blobs) 10-12 Methods: Techniques 13-16 Discussion 17-18 Conclusion 19-20 References 21-22 Appendix 23-26 Introduction This paper follows my masters project where I work with my own invented glass techniques that I am using to construct glass sheets for the purpose of architectural glass. In this project I am researching in what ways can handmade architectural craft change a space? In exploring how handmade glass can change a space, I will investigate how unseen glass traditions which happen in the workshop outside of public view can be present in a crafted object, and what society’s perception of craft might be historically and currently. I believe that public glass is lacking in the handmade. In the past society had depended on craftsmen to make windows, but now as they are mostly machine made it has become void of certain qualities. I would say architectural and functional glass is often overlooked as just a building material or tool, an object that is not seen or a transparent wall.
  • Understanding Firing Schedules

    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.
  • Baltic Glass the Development of New Creative Models Based on Historical and Contemporary Contextualization

    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.
  • Seahorse and Shell Dish Mold Brief Instructions for Each Option Spray

    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.
  • Colour De Verre Molds

    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.
  • UNLV Continuing Education Spring 2019 Glass Classes

    UNLV Continuing Education Spring 2019 Glass Classes

    SPRING 2019 GLASS BLOWING & FUSION Glass Blowing: Introduction Glass Fusion Experience UNLV Continuing Manipulate molten glass using the Try the art of glass fusing as you craft Education is excited to blowpipe and related techniques a beautiful 8 inch bowl or a set of four work with Barbara and including blowing, jacking, blocking, 4x4 inch coasters. Instructors guide shaping, transferring, and finishing. participants through the process start Larry Domsky of Domsky Class time is divided between lecture to finish, teaching cutting techniques, Glass Studio to offer these and individual hands-on instruction. glass choices, project assembly, and unique glass art courses. Instructors will provide guidance, fusing options. All materials, tools, and Domsky Glass is located at troubleshooting, and resources to aid safety wear are provided. in the furthering of your glassblowing Sa | Feb 16 | 11am-1pm | $125 2758 S. Highland Drive in education. Topics include: studio Domsky Glass | 191AR1174A Las Vegas. safety and etiquette; introduction to Sa | Jun 9 | 11am-1pm | $125 tools and equipment; furnace and Domsky Glass | 192AR1174A gathering procedures; safe glass handling; solid working techniques Glass Fusion: Introduction Glass Blowing Experience (paperweights and other forms); Work with Bullseye Glass in sheet Experience the art of glass blowing in introduction of the bubble (blowing); form, as well frit, to create an 18 inch a small group setting. After covering and vessel making. Students will need glass bowl. In this introduction to glass safety rules for the studio equipment to pay $400 for materials at the first fusing, you will practice with basic and tools, you will get to work creating class session.