Fusible Glass 96 C.O.E

Total Page:16

File Type:pdf, Size:1020Kb

Fusible Glass 96 C.O.E RevisedRevised 02/0705/20/09 BULLSEYE FUSIBLE GLASS 90 C.O.E. Bullseye Glass is formulated & manufactured specifically for a wide variety of usages including Fusing, Slumping, Beadmaking, etc. The most important characteristic of glass for fusing is compatibility—any Bullseye Glass labeled “Tested Compatible” should fuse with no undue stress to any other Bullseye Glass so labeled. No. THIN GLASS - OPALS THIN GLASS - CATHEDRALS (cont.) No. Tomato Red BU0024-50F BU1122-50F Red-Orange Tangerine Solid BU0025-50F BU1125-50F Orange Light Peach Cream BU0034-50F BU1126-50F Chartreuse Black BU0100-50F BU1128-50F Deep Royal Purple Powder Blue BU0108-50F BU1129-50F Charcoal Gray Mint Green BU0112-50F BU1137-50F Medium Amber White BU0113-50F BU1141-50F Olive Green Cobalt Blue BU0114-50F BU1145-50F Kelly Green Turquoise Blue BU0116-50F * BU1207-50F Fern Green *BU0117-50F Mineral Green BU1215-50F Light Pink (when fired) Striker Canary Yellow BU0120-50F BU1234-50F Violet Striker Poppy Red BU0124-50F * BU1241-50F Pine Green Orange BU0125-50F BU1305-50F Sunset Coral Spring Green (Lime) BU0126-50F BU1311-50F Cranberry Pink Driftwood Gray BU0132-50F BU1321-50F Carnelian Deco Gray BU0136-50F BU1322-50F Red French Vanilla BU0137-50F BU1332-50F Fuchsia Marzipan Striker BU0138-50F BU1334-50F Gold Purple Almond Striker BU0139-50F BU1401-50F Crystal Clear Neodymium Lavender BU0142-50F BU1405-50F Light Plum Lacy White BU0143-50F BU1406-50F Light Steel Blue Teal Green BU0144-50F BU1408-50F Light Aquamarine Blue Jade Green BU0145-50F BU1409-50F Light Bronze Steel Blue BU0146-50F BU1412-50F Light Aventurine Deep Cobalt Blue BU0147-50F BU1414-50F Light Sky Blue Coffee Cream Striker BU0149-50F * BU1416-50F Light Turquoise Blue Solid Brown BU0203-50F BU1417-50F Emerald Green Olive Green BU0212-50F BU1419-50F Tan *BU0216-50F Light Cyan BU1426-50F Spring Green Sunflower Yellow BU0220-50F BU1428-50F Light Violet Deep Solid Red BU0224-50F BU1429-50F Light Silver Gray *BU0227-50F Golden Green BU1437-50F Light Amber Pink BU0301-50F BU1439-50F Khaki Dusty Lilac BU0303-50F BU1442-50F Neo-Lavender Salmon Pink BU0305-50F * BU1444-50F Sea Blue Cinnabar BU0309-50F BU1449-50F Oregon Gray Umber BU0310-50F * BU1464-50F True Blue BU0313-50F Dense White BU0320-50F Marigold Yellow BU0321-50F Pumpkin Orange THIN IRIDIZED *BU0329-50F Burnt Orange BU0100-51F Black *BU0337-50F Butterscotch BU0100-56F Black Accordian Petal Pink BU0421-50F BU0100-57F Black w/Silver Iridized THIN GLASS - CATHEDRALS BU0100-58F Black w/Gold Iridized No. BU0113-51F White Opal BU1101-51F Clear Cathedral Clear BU1101-50F BU1101-58F Clear w/Gold Iridized Clear Reed Texture BU1101-53F BU1105-51F Deep Plum Cathedral Deep Plum BU1105-50F BU1108-51F Aquamarine Blue Cathedral Light Green BU1107-50F BU1112-51F Aventurine Green Cathedral Aquamarine Blue BU1108-50F BU1114-51F Deep Royal Blue Cathedral Aventurine Green BU1112-50F BU1116-51F Turquoise Blue Cathedral Deep Royal Blue BU1114-50F BU1118-51F Midnight Blue Cathedral Turquoise Blue BU1116-50F BU1120-51F Canary Yellow Cathedral Midnight Blue BU1118-50F BU1122-51F Red-Orange Cathedral Sienna BU1119-50F BU1125-51F Orange Cathedral Canary Yellow BU1120-50F BU1137-51F Medium Amber Cathedral *NEW COLOR BU1145-51F Kelly Green Cathedral See Page F4 For Sheet Size Chart * BU1234-51F Violet Striker F See Page F18 For Retailer Packs RevisedRevised BULLSEYE FUSIBLE GLASS 90 C.O.E. 05/20/0902/07 No. THIN IRIDIZED (cont.) No. SOLID COLOR OPALS (cont.) BU1311-51F Cranberry Pink Cathedral BU0138F Marzipan Striker BU1321-51F Carnelian BU0139F Almond Striker BU1332-51F Fuchsia BU0141F Dark Forest Green BU1406-51F Light Steel Blue Cathedral BU0142F Neodymium Lavender BU1408-51F Light Aquamarine Blue Cathedral BU0143F Lacy White BU1409-51F Light Bronze Cathedral BU0144F Teal Green BU1414-51F Light Sky Blue Cathedral Jade Green Tan BU0145F BU1419-51F Steel Blue BU1426-51F Spring Green Cathedral BU0146F BU1428-51F Light Violet Cathedral BU0147F Deep Cobalt Blue BU1442-51F Neo-Lavender Cathedral BU0149F Coffee Cream Striker BU0164F Egyptian Blue BU0203F Solid Brown FRIT & STREAMERS - (MARDI GRAS On Clear Glass) BU0212F Olive Green BU4200F Black Frit w/Black Streamers * BU0216F Light Cyan BU4212F Dark Green/Spring Green Frit BU0220F Sunflower Yellow w/Green Streamers BU0224F Deep Solid Red BU4215F Pink/Cranberry Frit w/Pink Streamers * BU0227F Golden Green BU4216F Royal Blue/Turquoise Frit w/Cobalt/ BU0301F Pink Turquoise Streamers BU0303F Dusty Lilac BU4217F Aventurine/Jade Green Frit BU0305F Salmon Pink w/Aventurine Streamers BU0309F Cinnabar BU4218F Black/White Frit w/White Streamers BU0310F Umber BU4219F Royal/Cobalt/Aqua Blue Frit BU0313F Dense White w/Royal Blue Streamers BU0320F Marigold Yellow BU4223F Yellow/Blue/Red Frit w/Blue Streamers BU0321F Pumpkin Orange BU4224F Red Frit w/Red Streamers Cranberry/Purple Frit & Streamers * BU0329F Burnt Orange BU4234F Gold Purple BU4242F Neo-Lavender/Purple Frit BU0334F w/Cobalt/Purple Streamers * BU0337F Butterscotch BU0421F Petal Pink FRACTURES & STREAMERS (All Streamers Black Unless Noted) streaKies (STANDARD THICKNESS) White Opal/Powder Blue Opal * BU4010F SPRING: Blue, Green, Aqua & Pink on White BU2018F H * BU4011F AUTUMN: Orange, Yellow & Red on White BU2020-30F Clear/Sunflower Yellow Opal * BU4012F SUMMER: Green & Yellow on White BU2024-30FH Clear Red Opal * BU4014F Spring Green & Deep Pink on White BU2026-30FH Clear/Spring Green Opal * BU4110F SPRING: Blue, Green, Aqua & Pink on Clear BU2037-30FH Clear/French Vanilla Opal * BU4111F AUTUMN: Orange, Yellow & Red on Clear BU2047-30FH Clear/Deep Cobalt Blue Opal * BU4112F SUMMER: Green & Yellow on Clear BU2064-30FH Clear/Egyptian Blue Opal * BU4113F WINTER: White (w/Clear Streamers) on Clear BU2100F Clear/Black Opal * BU4114F Spring Green & Deep Pink on Clear BU2105F Blue Opal/Plum * BU4115F Deep Pink, Light Pink & White on Clear BU2107F White Opal/Light Green * BU4116F Light Pink, Green & White on Clear BU2108F Powder Blue Opal/Marine Blue * BU4118F White on Clear BU2109F White/Dark Brown * BU4119F Blue & White on Clear BU2112F Mint Opal/Deep Forest Green * BU4121F Light Pink & White on Clear BU2118F White/Blue * BU4122F Light Pink, Plum & White on Clear BU2119F White/Violet * BU4128F Pink, Plum, Green, Aqua on Clear BU2121F Yellow/Forest Green BU2123F White Opal/Orange SOLID COLOR OPALS (STANDARD THICKNESS) BU2124F White/Rust Opal All are Double Rolled except BU0100F. BU2128F Purple/Light Blue Opal BU2129F Charcoal Gray/White Opal BU0013F Opaque White BU2130-30FH Clear/White Opal BU0024F Tomato Red BU2137-30FH Amber/White BU0025F Tangerine Solid BU2164-30FH Blue/White Wispy Opal BU0034F Light Peach Cream BU2209F Dark Brown/White Opal BU0100F Black Single Rolled * BU2212-30FH Olive/Forest Green Opal BU0100-30F Black BU2302F White Opal/Pink Opal BU0100-47F Black Prismatic (Bolder Linear Text.) BU2304F White Opal/Lavender Blue Opal BU0108F Powder Blue BU2305F White Opal/Salmon Pink Opal BU0113F White *NEW COLORS BU2310F White Opal/Cranberry Pink BU0114F Cobalt Blue BU2311-30F H Gold-Pink/White Wispy BU0116F Turquoise Blue HDOUBLE ROLLED BU3126-30FH Cranberry/Blue/Green BU0117F Mineral Green BU3203-30FH Brown/Ivory/Black BU0120F Canary Yellow H Olive/Forest/Brown Poppy Red BU3212-30F BU0124F White Opal/Deep Royal Purple/ BU0125F Orange BU3328F Cranberry Pink BU0126F Spring Green Opal (Lime) H BU0132F Solid Driftwood Gray BU3334-30F Cranberry/Purple/White BU0136F Deco Gray BU3501F White Opal/Deep Forest Green/ See Page F4 For Sheet Size Chart Caramel Opal F Revised 05/20/09 BULLSEYE FUSIBLE GLASS 90 C.O.E. CATHEDRALS (STANDARD THICKNESS) iridized (STANDARD THICKNESS) All are Double Rolled except BU1101F and BU4100F All are Double Rolled except BU4100-10F No. No. BU1101F Clear Single Rolled BU0100-31F Black Double Rolled BU1101-30F Clear BU0100-32F Black Diamond Pattern BU1101-47F Clear Prismatic (Bold Linear Text.) BU0100-37F Black Double Rolled w/Silver Irid. BU1101-60F 6mm Clear (Approx. 15.6/lb per sheet) BU0100-38F Black Double Rolled w/Gold Iridized BU1105F Deep Plum BU0113-31F White Opal BU1107F Light Green BU1101-10F Clear Cathedral Single Rolled BU1108F Aquamarine Blue BU1101-31F Clear Double Rolled BU1109F Bronze BU1101-32F Clear Diamond Pattern BU1112F Aventurine Blue BU1101-37F Clear w/Silver Iridized BU1114F Deep Royal Blue BU1101-38F Clear w/Gold Iridized BU1116F Turquoise Blue * BU1105-31F Plum Cathedral BU1118F Midnight Blue BU1108-31F Aquamarine Blue Cathedral BU1119F Sienna BU1112-31F Aventurine Green Cathedral BU1120F Canary Yellow BU1114-31F Deep Royal Blue Cathedral BU1122F Red-Orange BU1116-31F Turquoise Cathedral BU1125F Orange BU1118-31F Midnight Blue Cathedral BU1126F Chartreuse BU1119-31F Sienna Cathedral BU1128F Deep Royal Purple BU1120-31F Canary Yellow Cathedral BU1129F Charcoal Blue BU1122-31F Red-Orange Cathedral BU1137F Medium Amber BU1125-31F Orange Cathedral BU1141F Olive Green BU1126-31F Chartreuse Cathedral BU1145F Kelly Green BU1128-31F Deep Royal Purple Cathedral *BU1207F Fern Green BU1129-31F Charcoal Gray Cathedral BU1215F Light Pink (when fired) Striker BU1137-31F Medium Amber Cathedral BU1234F Violet Striker BU1145-31F Kelly Green Cathedral *BU1241F Pine Green BU1234-31F Violet Striker Cathedral BU1305F Sunset Coral BU1305-31F Sunset Coral Cathedral BU1311F Cranberry Pink BU1311-31F Cranberry Cathedral BU1320F Marigold Yellow * BU1321-31F Carnelian Cathedral BU1321F Carnelian * BU1322-31F Red Cathedral BU1322F Red * BU1332-31F Fuchsia Cathedral BU1332F Fuchsia BU1405-31F Light Plum Cathedral BU1334F Gold Purple BU1408-31F Light Aqua
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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]
  • 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.
    [Show full text]
  • 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.
    [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]
  • 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]
  • 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.
    [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]