SBRANFPOTS@aol.com on sun 2 feb 97
I have been inlaying glass into the surface of my wares and can offer some
tips. I use flat stained glass of all varieties. I wrap the glass in canvas
(the type a painter would stretch to paint on) and smash it with a hammer.
(very scientific and calculated) I expose the glass periodically to see the
progress removing pieces of the size I want. I use pieces from about 1/2 inch
long down to almost dust depending on the size of the work, the thickness of
the walls, and the effect I am looking for. I press the glass into an almost
leather hard surface.
Glass will not melt much in the bisque but it will fuse enough to stick to
the clay. I raku my wares and the glaze fluxes the glass enough to melt it.
depending on the variety of glass it will melt just a bit or will drip down
the side of the pot.
SBRANFPOTS@aol.com on mon 3 feb 97
Folks,
While writing a posting on the subject of using glass in clay, I accidentally
e mailed it to the list before completing it. How embarrassing.
Anyway.....if it appears (I tried to stop it) read it with a grain of salt.
Look for the updated version with the subject "glass and clay revisited"
Steven Branfman
Sandra Dwiggins on tue 4 feb 97
Several potters at my studio use Steve's scientific method of smashing
glass and inlaying it. If you fire to ^6, and have any curving surfaces,
the glass will pool at the lowest point of the piece. Sometimes it looks like
lava-lamp stuff--not very attractive. The most successful artist with this
technique works mostly with flat very rough surfaces. This can be quite
effective. This person also mixes in metal shavings and rough sand.
Looks great with paper clay.
Sandy
Anna D'Aste on wed 5 feb 97
SBRANFPOTS@aol.com wrote:
>
> ----------------------------Original message----------------------------
> I have been inlaying glass into the surface of my wares and can offer some
> tips. I use flat stained glass of all varieties. I wrap the glass in canvas
> (the type a painter would stretch to paint on) and smash it with a hammer.
> (very scientific and calculated) I expose the glass periodically to see the
> progress removing pieces of the size I want. I use pieces from about 1/2 inch
> long down to almost dust depending on the size of the work, the thickness of
> the walls, and the effect I am looking for. I press the glass into an almost
> leather hard surface.
>
> Glass will not melt much in the bisque but it will fuse enough to stick to
> the clay. I raku my wares and the glaze fluxes the glass enough to melt it.
> depending on the variety of glass it will melt just a bit or will drip down
> the side of the pot.
I have a couple of questions in response to your glass-clay stuff. First
at what temperature do you bisque the pots at? And two when you raku it
do you glaze right over the glass? Also do different kinds of stained
glass glass melt at different temperatures? I'd appreciate anything you
could tell me. One more thing I just thought of, doesen't the glass tend
to crack severely in the raku process? Thanks Anna
doug shea on mon 3 may 99
KC,
If you're planning on using your scrap glass on pots, be sure to
only put it on flat horizontal places [In depressions on tiles, Plates,
insides of bowls (THIS IS NOT FOOD SAFE !!!!!!!)]. If you put it on
surfaces that have too much vertical lift, it can, and probably will,
fall off the piece and stick to the shelf. I don't know what temp. you
are firing to, but different colors will burn out at higher
temperatures. Blues and dark greens tend to last better, some reds do
okay. You'll have to experiment.
Good luck,
Jim Shea, in Choconut PA,
Cursing the mild winter that we had here. There's now an open
burning ban in effect, & I have a show in the beginning of June. New
Raku kiln, and no way to use it till maybe the middle of the month.
Carol Jackaway on fri 7 may 99
I have read a number of post about put peices of glass on lid tops or in the
bottom of pots. What type of glass are you using? Did I read correctly that
stain glass melts at a lower tempture? Are you putting the glass in the
glaze firing, and what cone?
I have been wanting to do a peice that has glass "windows" so you can see
into the inside. These would be place in after glaze and luster firings.
But the idea of putting some in the bottom sounds interesting.
Thanks to everyone for always answering all the post, from all of us who
don't have other ceramic people to talk to during the day. I talk to this
screen alot!!
Carol Jackaway
CoilLady@aol.com
Jim Brooks on sun 9 may 99
Stained glass melts around 1150 - 1300.. degrees. window glass around
1400-1450. If you over fire glass it will devitrify.. become more
crystalline, cloudy, and feel rough. The beauty of the glass is lost. If
you must add it to a piece.. do it after the pot has fired to maturity.. Of
course, you always have the problem of the glass cracking..since the
expansion/contraction ratio is not the same as clay...
Brian Crocker on sun 9 may 99
G'Day Carol,
I have used small Lead Light panels in the side of lantern pots, they sell
quite quickly.
Kind regards,,
Brian C..
At 11:59 AM 7/05/99 EDT, you wrote:
>----------------------------Original message----------------------------
>I have read a number of post about put peices of glass on lid tops or in the
>bottom of pots. What type of glass are you using? Did I read correctly that
>stain glass melts at a lower tempture? Are you putting the glass in the
>glaze firing, and what cone?
>I have been wanting to do a peice that has glass "windows" so you can see
>into the inside. These would be place in after glaze and luster firings.
>But the idea of putting some in the bottom sounds interesting.
>Thanks to everyone for always answering all the post, from all of us who
>don't have other ceramic people to talk to during the day. I talk to this
>screen alot!!
>Carol Jackaway
>CoilLady@aol.com
>
>
Brian Crocker.
4 Erica Street,
Tea Tree Gully 5091,
South Australia. [e.mail] crocker@dove.net.au
With them the Seed of Wisdom did I sow,
And with my own hand labour'd it to grow:
And this was all the Harvest that I reap'd --
"I came like Water, and like Wind I go." The Rubaiyat.
Earl Brunner on thu 26 aug 04
You can se some of the affect at his website:
http://www.hewittpottery.com/
Earl Brunner
Las Vegas, NV
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Phyllis Tilton
Sent: Thursday, August 26, 2004 6:36 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Glass and Clay
At one of the NCECA presentations, I am pretty sure it was Mark Hewitt from
North Carolina that imbedded some glass in the sides of some of the very
huge pots he made. He had finished pots to show how the glass melted into a
stream down the sides of the pots. Beautiful. He did not use huge pieces of
glass but the effect was very nice and subtle.
Phyllis Tilton
Phyllis Tilton on thu 26 aug 04
At one of the NCECA presentations, I am pretty sure it was Mark Hewitt from North Carolina that imbedded some glass in the sides of some of the very huge pots he made. He had finished pots to show how the glass melted into a stream down the sides of the pots. Beautiful. He did not use huge pieces of glass but the effect was very nice and subtle.
Phyllis Tilton
Daisypet1@yahoo.com
Daisypet@aol.com
Columbus, Ohio, USA
Neal on thu 26 aug 04
Mark Hewitt is having a kiln opening this
weekend (Aug. 28-29) near Pittsboro, North
Carolina. I went to the last one and am still
in awe. Here's his website:
http://www.hewittpottery.com/
Neal
===============
At one of the NCECA presentations, I am pretty
sure it was Mark Hewitt from North Carolina that
imbedded some glass in the sides of some of the
very huge pots he made. He had finished pots to
show how the glass melted into a stream down the
sides of the pots. Beautiful.
__________________________________
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New and Improved Yahoo! Mail - Send 10MB messages!
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Eleanora Eden on wed 22 dec 04
I saw this post was returned undeliverable. So I am trying again. Eleanora
>Date: Tue, 21 Dec 2004 10:07:10 +0000
>To: Ceramic Arts Discussion List
>From: Eleanora Eden
>Subject: glass and clay
>
>I dimly remember ceramics class at Berkeley High circa 1960. I remember
>being so happy to have white clay to use so the colors didn't look horrid
>like they did over the red clay. But I do remember very well my first
>efforts at art in clay, my own design, two pots that were boatish oval
>forms on three legs. Very fetching and they made it into the hall
>window. Anyway, one of these was black with big pieces of glass all over
>the bottom. They melted into this deep green crazed puddle but didn't
>affect the pot. Didn't know it wouldn't work and tried it and it worked.
>
>Eleanora
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