People who salvage old glass for kilnforming frequently tell you to avoid tempered glass like the plague because: It's impossible to cut or break (unless you don't want it to break and then it explodes all over [...]
Remember that Color Line enamel glass paint that I beta-tested for Bullseye awhile back? This, apparently, is what Color Line can do in the hands of someone who knows how to use it. (IOW, someone other than yours truly) Here's [...]
I know I've promised a bunch of you that I'd deliver a compilation of knee replacement surgery information and I WILL PUBLISH THAT SOON. Promise. It's just that I'm having a little trouble developing a new template that doesn't take [...]
Glassists testing products would do well to remember this maxim: Failure is good. Each failure deepens your subject matter expertise. Sigh. When it comes to enamels-on-glass, my subject matter expertise must be about as deep as the Mariana trench. Bullseye Glass kindly included me in their [...]
Note: This post was originally published on January 20, 2011. Since then, some of these offerings have changed, and more murrini makers are offering kilnformer supplies, so I thought this needed an update. I've been exploring all the different ways [...]
Firing schedules are probably the single biggest source of confusion in kilnforming glass. Over the years (and a bunch of research, testing and listening to smarter-than-me glassists), I’ve developed strategies for schedule management; this series will share a bit. In [...]
It's all in the way you slice it. And the way you slice it is, apparently, profoundly affected by a good blade. Check any glassmaker's forum and you'll probably find someone with glass cutting issues, usually stemming from a tile saw that's more like a Cuisinart than a slicer. I don't claim any special expertise at this stuff, but I do have a decades-old, cheap, badly made, out-of-true tilesaw that reliably cuts amazingly thin murrini cane* slices. I do this a lot. So I must be doing something right...right?
If you mix frit colors--as all pate de verre and frit painting artists do with abandon--you quickly learn about reactivity between colored glasses. Try warming up the chill BE Salmon Pink with a little BE Medium Amber, and the resulting sludgy grey-brown will stick in your mind forever. Or so I thought. At a beginning casting workshop recently, one of my students complained that it was tough to simply remember what reacted with which. Or worse, when they combined glasses from two manufacturers, they couldn't find any reactivity info at all, which apparently resulted in some unpleasant surprises.